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醿掅儩醿氠偿醿涐儤
醿♂儛醿樶儞醿ａ儧醿氠儩醿� 醿メ儭醿斸儦醿樶儣 醿涐儩醿儯醿氠儤 醿炨儬醿愥儲醿�, 醿┽儬醿撫儤醿氠儩醿曖儛醿� 醿儛醿氠償醿戓儣醿愥儨 醿撫儛醿炨儤醿犪儤醿♂優醿樶儬醿斸儜醿�, 醿戓儤醿ａ儬醿濁儥醿犪儛醿⑨儤醿ａ儦醿� 醿儩醿儩醿償醿椺儤 醿撫儛 醿炨儩醿氠儤醿⑨儤醿欋儯醿犪儤 醿樶儨醿⑨儬醿樶儝醿斸儜醿�. 醿涐儥醿樶儣醿儠醿斸儦醿� 醿涐償醿濁儶醿� 醿♂儛醿ａ儥醿ａ儨醿樶儭 醿撫儛醿♂儛醿儳醿樶儭醿ㄡ儤 醿掅儛醿撫儛醿樶儨醿愥儶醿曖儦醿斸儜醿�, 醿撫儤醿撫儤 醿涐儲醿斸儦醿曖儛醿犪償醿戓儤醿� 醿炨償醿犪儤醿濁儞醿ㄡ儤, 醿犪儩醿撫償醿♂儛醿� 醿斸儠醿犪儩醿炨儤醿� 醿欋儛醿犪儭 醿炨儤醿犪儠醿斸儦醿� 醿涐儭醿濁儰醿氠儤醿� 醿濁儧醿� 醿樶儳醿� 醿涐儩醿涐儞醿掅儛醿犪儤. 醿涐儤醿� 醿涐儤醿斸儬 醿愥儲醿償醿犪儤醿氠儤 醿炨儬醿愥儲醿� 醿斸儬醿椺儞醿犪儩醿ａ儦醿愥儞 醿樶儭醿⑨儩醿犪儤醿ａ儦醿� 醿撫儛 醿斸儢醿濁儮醿斸儬醿樶儥醿ａ儦醿�, 醿撫儤醿撫償醿戓儯醿氠儤 醿撫儛 醿掅儬醿濁儮醿斸儭醿欋儯醿氠儤, 醿犪償醿愥儦醿ａ儬醿� 醿撫儛 醿儛醿犪儧醿濁儭醿愥儺醿曖儤醿椺儤. 鈥炨儝醿濁儦岢メ儧醿樶儭鈥� 醿♂儛醿儤醿� 醿涐儥醿樶儣醿儠醿斸儦醿� 醿儤醿� 醿搬儛醿氠儯醿儤醿溼儩醿掅償醿溼儯醿犪儤 醿涐儩醿掅儢醿愥儯醿犪儩醿戓儛 醿斸儦醿樶儭.
333 pages, Hardcover
First published January 1, 1915
508 people are currently reading
11473 people want to read
About the author
Gustav Meyrink
301听books314听followersThe illegitimate child of a baron and an actress, Meyrinck spent his childhood in Germany, then moving to today's Czech Republic where he lived for 20 years. The city of Prague is present in most of his work along with various religious, occult and fantastic themes. Meyrinck practiced yoga all his life.
Curious facts:
He unsuccessfully tried to commit suicide at the age of 24. His son committed suicide at the same age with success.
Meyrinck founded his own bank but was accused of fraud for which he spent 2 months in prison.
He worked as a translator and translated in German 15 volumes by Charles Dickens while working on his own novels.
Among his most famous works are Der Golem (1914) and Walpurgisnacht (1917).
Curious facts:
He unsuccessfully tried to commit suicide at the age of 24. His son committed suicide at the same age with success.
Meyrinck founded his own bank but was accused of fraud for which he spent 2 months in prison.
He worked as a translator and translated in German 15 volumes by Charles Dickens while working on his own novels.
Among his most famous works are Der Golem (1914) and Walpurgisnacht (1917).
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Displaying 1 - 30 of 759 reviews
November 5, 2024
鈥淩abbi L枚w, well versed in all of the arts and sciences, especially in the Kabbalah, had fashioned for himself one such servant out of clay, placed in his mouth the magic formula, and thereby brought him to life鈥�.
Such is the legend. But Golem of Gustav Meyrink is a creature that comes in dreams.
In the novel Gustav Meyrink managed to create a unique atmosphere of mystique alloyed with Weltschmerz鈥�
The Golem is a darkly lyrical memorial to the epoch and to the people that lived in it and it is a mysteriously poetic memorial to the city and to the people that lived in it.
Probably every one of us carries some mystical fiery sign hidden deep within one鈥檚 soul鈥�
Such is the legend. But Golem of Gustav Meyrink is a creature that comes in dreams.
It is the narrow, hidden tracks that lead back to our lost homeland, what contains the solution to the last mysteries is not the ugly scar that life's rasp leaves on us, but the fine, almost invisible writing that is engraved on our body.
In the novel Gustav Meyrink managed to create a unique atmosphere of mystique alloyed with Weltschmerz鈥�
The Golem is a darkly lyrical memorial to the epoch and to the people that lived in it and it is a mysteriously poetic memorial to the city and to the people that lived in it.
The vision I had had in the Cathedral, when Charousck鈥檚 head had appeared on the monk鈥檚 body in answer to my mute appeal for help, was indication enough that I should not reject vague feelings out of hand. For some time now hidden powers had been germinating within me, of that I was certain; the sense was so overpowering that I did not even try to deny it. To feel letters, not just read them with my eyes in books, to set up an interpreter within me to translate the things instinct whispers without the aid of words: that must be the key, I realised, that must be the way to establish a clear language of communication with my own inner being.
Probably every one of us carries some mystical fiery sign hidden deep within one鈥檚 soul鈥�
March 3, 2020
Question: I am thinking of an author of novels and short stories, a speaker and writer of German, who lived in a predominately Czech-speaking area of the Austro-Hungarian Empire in the early years of the 20th Century. His works are often set in the city of Prague, a setting he fills with menace and dark surrealism. He seems both attracted and repelled by Judaism, an ambiguity reflected in his themes of patriarchy and autonomy, authority and law, isolation and identity in an unjust and chaotic world. Who is the writer I am thinking of?
Answer: Franz Kafka, of course.
Response: No. Nice try, but I was thinking of Gustav Meyrink.
In spite of these similarities, Kafka and Meyrink are very different. Kafka's biography reveals the Modernist pattern also seen in Eliot, Pessoa, Stevens: the alienated artist, a middle-class product, disappears into a bureaucracy of trade, banking, or insurance, preserving his originality through a series of expressive masks. Meyrink's biography, on the other hand, shows him to be less like a Modernist than like a flamboyant German Romantic of the early 19th century. The bastard son of a Wurttemburg baron and a Viennese actress, he was indeed a bank worker--a bank director, to be precise--but he was never drab or calculatingly anonymous: a survivor of nervous collapse, tuberculosis, and attempted suicide, he was a bon vivant, a fighter of duels, an unashamed devotee of the occult. Perhaps this last was just too much for his staid middle-class investors: accused of combining spiritualist consultations with executive decisions, Meyrink was arrested for bank fraud and sent to prison for two and a half months. There he suffered both physical paralysis and financial ruin; he cured himself of the former through the postures of yoga and of the latter through the profession of writing. With The Golem--a re-imagining of the old Jewish tale鈥擬eyrink's reputation became secure.
Kafka's ambiguity towards Judaism derived from fear of his father and a tentative connection to his own Jewish heritage. Meyrink, on the other hand, was not Jewish at all (although some sources mistakenly assert his mother was). It was through his occult explorations that he became fascinated with Judaism: the force of the folk tales, the truth of the sayings, the splendor of the mystical writings. At the same time, he seems both attracted and repelled by the exotic squalor of Prague's Jewish Quarter. I detect a whiff of anti-semitism here, but I also sense that Meyrink sees the Jews as representative of humanity, illuminated by the divine spirit even though debased and enmired in a fallen world.
It is this sense of spiritual potential in a shattered world that most dramatically distinguishes Meyrink. There is little of this theme in Kafka; his protagonists are modern men, vainly attempting to assert their improbable existence in the context of an absurd world. Although Meyrink has much to say about the mystery of identity, his approach seems more gothic, more faux medieval. The Golem, a dark fairy tale, may be filled with false identities, fragmented quests, and madness disguised as transformation (or is it the other way round?), but throughout everything, the self and its potential for spiritual illumination never lose reality. The problem is that our world is in pieces: the individual no longer knows himself, for he is buried by fragments of pettiness and posing, spleen and crime. Meyrink reverenced the Kabbalah, and the narrative of The Golem seems to embody the myth of the Shevirat haKeilim : although the vessels, unable to contain the Light, have shattered, they shall be restored, in the Lord's good time. Until then, their shards, reflecting the Light, help to illuminate our darkened world.
February 19, 2021
LA MADRE DI TUTTE LE CREATURE
Paul Weneger diresse i primi tre film dedicati al Golem, interpretando personalmente la Creatura.
脠 venuto prima di tutte le 鈥渃reature鈥�: prima di Frankestein, della Cosa (The Thing), di Hulk, di Terminator, dei replicanti, di Pokemon.
脠 perfino approdato ai Simpson!
Il Golem 猫 un novello Adamo, ma senza l鈥檃nima: la prima volta che viene pronunciato il termine golem 猫 nel salmo 139 della bibbia: ed 猫 proprio Adamo che si rivolge al signore definendosi una massa informe. Un golem.
Perch茅 golem vuol appunto dire materia grezza.
Ma anche embrione.
Il Golem nasce cinque secoli fa (1580) nel cuore di Praga (magica): in sinagoga, il golem prende vita dalle mani del rabbino Judah Loew, grande cabalista, talmudista e matematico, che lo plasm貌 dal fango della Moldava.
Loew riesce ad animare e dar vita alla creatura di argilla attraverso formule magiche e gli incide sulla fronte il nome di dio.
脠 sul Talmud che si dice che 猫 possibile animare la Creatura usando il 鈥淟ibro della creazione鈥�, dove ci sono istruzioni dettagliate sulle combinazioni alfanumeriche usate da dio per dar vita al mondo.
La magia generativa 猫 contenuta nei numeri e nelle lettere, messi nella giusta combinazione: un principio binario che trasforma in un algoritmo il principio della vita. **
E infatti il Golem comincia a vivere grazie al termine emet, in ebraico verit脿. E smette di vivere quando l鈥檌niziale viene cancellata e rimangono i tre caratteri di met, in ebraico morte.
In pratica, un duplicato della creazione.
Generato per difendere il popolo d鈥橧sraele.
Grazie al rabbino Loew il Golem passa dall鈥檃ntica teologia alla moderna mitologia.
Gustav Meyrink apre i giochi, e con questo romanzo il Golem entra nella Letteratura.
Tra il 1915 e il 1920 entra anche nel Cinema grazie al regista Paul Wegener che gli dedica tre film nel meraviglioso intramontabile stile dell鈥檈spressionismo cinematografico tedesco.
I've seen things you people wouldn't believe, attack ships on fire off the shoulder of Orion, I watched c-beams glitter in the dark near the Tannh盲user Gates. All those moments will be lost in time, like tears in rain. Time to die.
Se la Creatura ha/avesse un鈥檃nima 猫 dibattito aperto da secoli.
E tutti quei momenti andranno perduti nel tempo, come lacrime nella pioggia. 脠 tempo di morire.
Le lacrime nella pioggia di Rutger Hauer-Roy Batty, il replicante che muore nel finale di Blade Runner, fanno propendere per il s矛.
** Il primo computer prodotto da Israele fu battezzato Golem I.
La statura del rabbino Judah L枚w, opera di Ladislav 艩aloun (1910), davanti al Municipio di Praga.
Paul Weneger diresse i primi tre film dedicati al Golem, interpretando personalmente la Creatura.
脠 venuto prima di tutte le 鈥渃reature鈥�: prima di Frankestein, della Cosa (The Thing), di Hulk, di Terminator, dei replicanti, di Pokemon.
脠 perfino approdato ai Simpson!
Il Golem 猫 un novello Adamo, ma senza l鈥檃nima: la prima volta che viene pronunciato il termine golem 猫 nel salmo 139 della bibbia: ed 猫 proprio Adamo che si rivolge al signore definendosi una massa informe. Un golem.
Perch茅 golem vuol appunto dire materia grezza.
Ma anche embrione.
Il Golem nasce cinque secoli fa (1580) nel cuore di Praga (magica): in sinagoga, il golem prende vita dalle mani del rabbino Judah Loew, grande cabalista, talmudista e matematico, che lo plasm貌 dal fango della Moldava.
Loew riesce ad animare e dar vita alla creatura di argilla attraverso formule magiche e gli incide sulla fronte il nome di dio.
脠 sul Talmud che si dice che 猫 possibile animare la Creatura usando il 鈥淟ibro della creazione鈥�, dove ci sono istruzioni dettagliate sulle combinazioni alfanumeriche usate da dio per dar vita al mondo.
La magia generativa 猫 contenuta nei numeri e nelle lettere, messi nella giusta combinazione: un principio binario che trasforma in un algoritmo il principio della vita. **
E infatti il Golem comincia a vivere grazie al termine emet, in ebraico verit脿. E smette di vivere quando l鈥檌niziale viene cancellata e rimangono i tre caratteri di met, in ebraico morte.
In pratica, un duplicato della creazione.
Generato per difendere il popolo d鈥橧sraele.
Grazie al rabbino Loew il Golem passa dall鈥檃ntica teologia alla moderna mitologia.
Gustav Meyrink apre i giochi, e con questo romanzo il Golem entra nella Letteratura.
Tra il 1915 e il 1920 entra anche nel Cinema grazie al regista Paul Wegener che gli dedica tre film nel meraviglioso intramontabile stile dell鈥檈spressionismo cinematografico tedesco.
I've seen things you people wouldn't believe, attack ships on fire off the shoulder of Orion, I watched c-beams glitter in the dark near the Tannh盲user Gates. All those moments will be lost in time, like tears in rain. Time to die.
Se la Creatura ha/avesse un鈥檃nima 猫 dibattito aperto da secoli.
E tutti quei momenti andranno perduti nel tempo, come lacrime nella pioggia. 脠 tempo di morire.
Le lacrime nella pioggia di Rutger Hauer-Roy Batty, il replicante che muore nel finale di Blade Runner, fanno propendere per il s矛.
** Il primo computer prodotto da Israele fu battezzato Golem I.
La statura del rabbino Judah L枚w, opera di Ladislav 艩aloun (1910), davanti al Municipio di Praga.
December 8, 2016
I wouldn鈥檛 want to be a Golem, and I wouldn鈥檛 want to see one either. Doing so seems to lead to a high degree of delusion. Well, an unreliable narration at the very least. I feel like everything the narrator says and does is questionable, and everything he says is doubtful. It鈥檚 impossible to say how much of this actually happened, and how much of it was in the narrator鈥檚 mind. Obscure density is all we are left with.
鈥滻 hoped they would change their shape as I looked at them, allowing me to assume some optical delusion has been the cause of the fear that was paralysing me.鈥�
And that鈥檚 exactly it. At the end of the novel he appears to wake up from a dream, but, again, that in itself is highly doubtful. He has spent the entirety of the process in another man鈥檚 body, but the events he dreamt about apparently happened in a not so distant past. So how do we identify reality and the fantastic? What divides them? Absolutely nothing. Meyrink intertwines the two resulting in one massive headache of a novel. I鈥檓 just not sure what to believe. The narrator could be insane; this would explain the questionable nature of the events and the undertones of the macabre. He could have just had one nightmarish dream and then decided to get on with his life. But what if it did happen? It leaves me with mind numbing questions in the same way that Kafka鈥檚 Trial did. Simply put, we will never have our answers.
The setting of the novel is like a haunted ghetto. The spirit of the citizens is bleak and morose. Perrath, our protagonist, is in a real dark place. He has no control over the events in his life as he descends even further into this abyss of despair. He has no real sense of freedom or expression of individual will. In part, this can be seen as an allegory for the First World War. The people are subjugated and forced into unpleasant circumstances as the horror of death tears through Europe.
Certainly, there are parallels. But no reading is conclusive. For me, the best aspect of this story is its dream like feel. I don鈥檛 think an overall interpretation can be applied to the work. Nothing fits it perfectly or defines it. H.P Lovecraft, the man who wrote some of the strangest short stories in existence, called it weird. From him, that鈥檚 a rather large compliment. It would have the same effect as Charlotte Bronte praising the work of a minor author for its feminist aspects. So this isn鈥檛 an easy book to read. It is, indeed, a very weird book. It should be approached with caution. If you go into this expecting a linear framework you will be drastically disappointed. This book has a nightmarish quality, after reading it you鈥檙e not entirely sure what any of it means. But that鈥檚 not necessarily a bad thing. This one will haunt me for a while.
鈥滻 hoped they would change their shape as I looked at them, allowing me to assume some optical delusion has been the cause of the fear that was paralysing me.鈥�
And that鈥檚 exactly it. At the end of the novel he appears to wake up from a dream, but, again, that in itself is highly doubtful. He has spent the entirety of the process in another man鈥檚 body, but the events he dreamt about apparently happened in a not so distant past. So how do we identify reality and the fantastic? What divides them? Absolutely nothing. Meyrink intertwines the two resulting in one massive headache of a novel. I鈥檓 just not sure what to believe. The narrator could be insane; this would explain the questionable nature of the events and the undertones of the macabre. He could have just had one nightmarish dream and then decided to get on with his life. But what if it did happen? It leaves me with mind numbing questions in the same way that Kafka鈥檚 Trial did. Simply put, we will never have our answers.
The setting of the novel is like a haunted ghetto. The spirit of the citizens is bleak and morose. Perrath, our protagonist, is in a real dark place. He has no control over the events in his life as he descends even further into this abyss of despair. He has no real sense of freedom or expression of individual will. In part, this can be seen as an allegory for the First World War. The people are subjugated and forced into unpleasant circumstances as the horror of death tears through Europe.
Certainly, there are parallels. But no reading is conclusive. For me, the best aspect of this story is its dream like feel. I don鈥檛 think an overall interpretation can be applied to the work. Nothing fits it perfectly or defines it. H.P Lovecraft, the man who wrote some of the strangest short stories in existence, called it weird. From him, that鈥檚 a rather large compliment. It would have the same effect as Charlotte Bronte praising the work of a minor author for its feminist aspects. So this isn鈥檛 an easy book to read. It is, indeed, a very weird book. It should be approached with caution. If you go into this expecting a linear framework you will be drastically disappointed. This book has a nightmarish quality, after reading it you鈥檙e not entirely sure what any of it means. But that鈥檚 not necessarily a bad thing. This one will haunt me for a while.
January 21, 2023
While the story of The Golem alone deserves four stars as Gustav Meyrink's masterpiece, the Tartarus Press edition, of which I happen to be a fortunate owner, pushes the book-as-artifact into the five star category. This book is one of my most prized possessions, one of the books I'll reach for if the library ever catches fire. Everything about it screams "I defy you to find another book as cool as me". From the outstanding internal artwork to the silk ribbon marker to the weight of the pages themselves, this is a book of quality workmanship through and through. If I could own all of my favorite books in a Tartarus hardcover edition such as this, I might do nothing but read the rest of my life, starving to death in an easy chair under the light of a reading lamp.
As several reviewers have pointed out, The Golem is obtuse. It is clearly not the story of the golem as dramatized in the silent movies directed by Paul Wegener. This book is much less forthright in its horror, if it can be called horrific at all. I think that "unsettling" is a more accurate term. The heavy mysticism and symbolism Meyrink employs simultaneously draws in and distances the reader, making for an uneven read that sets up a disturbing cadence in the reader's mind. This can be aggravating at times, and absolutely captivating at others. One always feels that there's something just around the next bend, emotionally and intellectually speaking. I wonder if Meyrink didn't intend the book to read this way. In this way, he is much like Kafka, but on a more ethereal plane, if you will. Where Kafka creates unease with a sharp dose of uncaring bureaucracy, Meyrink plays hide and seek with shadows that may be interpreted as real demons or as the slow nightmare of a collective unconsciousness. It is because of this openness to interpretation that one reading is really insufficient to judge the work. The Golem, while not as hallucinatory as some think (those who haven't read it) or hope (those who were looking for an early surrealist Gothic tale) , is also not as incomprehensible as some reviewers complain. It is not an easy read, but, like many difficult reads, it is rewarding to wander Prague's streets in search of Meyrink's elusive creature.
As several reviewers have pointed out, The Golem is obtuse. It is clearly not the story of the golem as dramatized in the silent movies directed by Paul Wegener. This book is much less forthright in its horror, if it can be called horrific at all. I think that "unsettling" is a more accurate term. The heavy mysticism and symbolism Meyrink employs simultaneously draws in and distances the reader, making for an uneven read that sets up a disturbing cadence in the reader's mind. This can be aggravating at times, and absolutely captivating at others. One always feels that there's something just around the next bend, emotionally and intellectually speaking. I wonder if Meyrink didn't intend the book to read this way. In this way, he is much like Kafka, but on a more ethereal plane, if you will. Where Kafka creates unease with a sharp dose of uncaring bureaucracy, Meyrink plays hide and seek with shadows that may be interpreted as real demons or as the slow nightmare of a collective unconsciousness. It is because of this openness to interpretation that one reading is really insufficient to judge the work. The Golem, while not as hallucinatory as some think (those who haven't read it) or hope (those who were looking for an early surrealist Gothic tale) , is also not as incomprehensible as some reviewers complain. It is not an easy read, but, like many difficult reads, it is rewarding to wander Prague's streets in search of Meyrink's elusive creature.
January 25, 2011
Hello. My name is Greg and this is my review for:
I should first warn anyone reading this review that I suck at reading and you'd probably be better off reading reviews written by people who don't suck at reading. I only discovered my reading suckness last week, so I shamefully apologize for anyone who has read any of my six hundred and eight other reviews and thought they were reading a review written by someone who didn't suck. This review is probably a much more informative review than mine:
AVERT SMUG INKY!
I went to the mall because that is what I do for fun. I hang out at the mall. Specifically at the little tables with the uncomfortable metal and wooden slat chairs that are in between the Orange Julius, the Mrs. Fields and the Arby's. Or as I like to call it the tables in the triangle of heavenly delight. I'm in the middle of enjoying my third roast beef sandwich of the afternoon when this guy forcefully sets himself in the seat across from me.
"Athanasius Pernath," he says.
I hunker down and use my left arm to encircle my remaining uneaten roast beef sandwich small pile of cookies and two Orange Julius drinks. I glare at the man. He is wearing a hat. When I don't say anything he takes his hat off and shows me the name stitched on the inside of the hat. It says Athanasius Pernath.
"Some mornings I need to look at my hat to see what my name is," he says.
I say nothing, I must finish my delicious Arby's sandwich. He is ruining my enjoyment of only the third one of the day. Damn this man. That is what I think. So I tell him.
"Damn you man!" and a minute later we are talking like best friends and I have offered to let him share in some of my food and beverage.
GIVE NASTY MURK!
That's all a lie. But that is exactly how I met the main character of The Golem one afternoon at the mall. We would talk for a while about things, and those things will be partially shared as the review goes on.
But before I get to anything as interesting as my conversation with Athanasius Pernath I need to give a big FUCK YOU! shout out to that taint-tickling, rectum-felching, choad-sucking, chulo-reaming, baby-gook-rimming, honkey-pus-sucking, heeb-analizer Atiba. That's right, fuck you Atiba. Fuck you existing. It's because you exist that this book exists and that I had to read it. It's not that the book is bad I realized you auto-erotic-fisting freak, but that because you fucking exist that this book is as bad as it is. If you had just been a bloody-cum squirt out of your mother's rotten vag than this book would have been better.
This is a picture from the book!
YUM, TRIG KNAVES!
!~~~~~~~~~~~~An @$1d3~~~~~~~~~~~~~~!
TOP TEN GOLUMS. EVER!!!!!!!
Number 10. Golem. From Pokemon!
Stay tuned for the next nine, we'll be counting them down all motherfucking review!!! Speaking of countdowns, that just reminded me of , so you should listen to it while you continue to read this review.
VEGAN TRIMS YUK!
Back at the mall.
"I don't understand, why you didn't like the book, why you didn't like me?"
"Maybe I just didn't understand the book, I'm fairly certain I don't know how to read."
"That is interesting, I don't know my name sometimes."
"I noticed that in the book. Part of what confused me was it started off in Prague."
"That is correct."
"And then, Frodo was with the giant tree people, but were you still in Prague then? And I never quite understood how Golem got out of that room he was in and why he cared so much about the ring. Did the ring also only appear every thirty-three years?"
"I have no idea what you're taking about. I think you may be confusing different stories."
"No, it's the story about the Golem, the one that the weird Jewish sorcerer Gangdoff or Dumbledore or something like that created and then he talked to some hobbits and convinced them to help him fight the weird flaming vagina that was controlled by the Jewish junkdealer who lived across the street from Frodo and how had the slutty looking daughter who slept with the orcs. And the weird Jewish magician had a buxom and hot daughter who was queen of the Elf Land, right? And then there was that other woman, the saucy blonde who wanted Frodo to help her decieve the evil junkdealer who was trying to tell the world what a dirty whore she was, but Frodo had enough trouble with the Golem who was following him around everywhere, and then....."
"Do you think I'm Frodo?"
"Maybe you are. You're the one who is only aware of his name by what is printed on the inside of your hat."
"The story is about Dopplegangers. It's not about hobbits and Frodos."
"That's what the introduction says too, I'm not a very good reader though. But you know, there is this website I'm on called goodreads.com, which I sully by my very non-good reader existence, and I've been made aware of my deficiencies as a reader. I fear that if I ever wrote a review for the book no one would read it even to the point where I tried to defend myself."
"Why would someone not read what you have to say, maybe if you just stopped confusing the plot of my story with that of Bilbo..."
"Ha! You are really part of the Hobbit story! I knew it!"
"No, you are confused, you are probably caught in some frightening dream..."
"A dream? Let me tell you about a dream."
A Dream. With Dream Photographs
Like most of my boring dreams this one took place at work. My subconscious so infused with the boredom and tedium of my everyday world that even dreaming was no escape from it.
I know that hearing about someone else's dream is about as exciting as paint drying, but please bear with me.
I went into the backroom at work. I don't know why. I had to do it. You know what it's like in dreams. And what did I find? My whole being felt the horror approaching. And I was powerless to stop myself from moving on. I must go on. I must not. The HORROR! Terror no mere mortal has ever felt as I moved on. And in that back room I came face to face with it!
The Golem. It's yellow skin looking at me from the cover of the Dover edition of the book! I had never been so afraid in my whole life. I thought I would go mad! Madness! Arrggghhh!!
But, lest I be trapped in the insanity of my dream forever, I knew I must muster up all my strength and fight this terror! And so I did.
I prepared to attack!
The Golem showed no fear. So I struck.
And I hit him. And the laughter rang out from inside its pages. "You can not hurt me!" the book taunted.
"No?" I asked. And I tore into him.
And he gasped. I could feel his own terror. He knew I would destroy him.
And I stomped him into the ground.
And as he lay broken and shattered, and I emerged victorious from a battle I hope never to have to engage in again I told him what I thought of him. "Fuck you, Golem," I bellowed.
And then I awoke.
Top Ten Golem's of All-Time: Number 9
The Golem from this book:
Keep checking back because I'm not going to fucking stop until I get to the motherfucking top.
A Stinky Mug Rev!!!
"You really have no idea what this book is about do you?" the character from the novel asked me.
"Of course I do. But since you think you know everything, what do you think the book is about?"
"It is about Doppelgangers. Do you even know what one is?"
"I'm not an idiot, of course I do. In fact I have one on 欧宝娱乐.com"
"You have one?"
"Yes."
The Story of My 欧宝娱乐.com Doppelganger(s)
Obviously my doppelganger is David Kowalski. I can't go into too many details about the why he is, and I certainly can not describe the metaphysical reasons how this all came about, but a doppelganger is an apparition of a living person. I am the living person and he is a ghostly double that is actually much wittier and a better writer than I am, but he is in fact my goth double trapped in the netherland purgatory of Indiana. Really the only proof I'm allowed to divulge at this time is that when our ectoplasmic connections become too strained, or when I threaten to grow a life of my own and take over from him the life forces that we share he disappears from the interwebs and all evidence of his ever having existed on goodreads.com disappears with him. For the good of everyone it would probably be better if things worked the other way, where I would just disappear with my long rambling nonsensical reviews, but he's the apparition and there isn't anything I can do about that. Maybe in the future that will change and I'll become the apparition and then I'll disappear, taking all my foul-mouthed reviews with me.
Top Ten Golem's of All-Time: Number 8
Donny "the Bear Jew" Donowitz from Inglourious Basterds. Who the German Army call a golem!
Keep it on this station to see what will be in the top seven golem's of all time!
An Aside, which really isn't an aside since there is no real non-aside to this review so far
Alfonso believes that I intentionally tried to traumatize him by wearing pants that were torn in the crotch area and he thinks I was trying to get him to see my 'junk' as he calls it. I don't think anyone in the world wants to see my 'junk' and it was only the comfort of the pants that overrode the possible shame involved in wearing torn pants that made me continue wearing them. I had no idea that I was possibly causing any horror by my wardrobe to people who might be sitting on the floor at Barnes and Noble trying to read. Please accept my sincerest apology to anyone who felt uncomfortable by my holey pants. I always wear underwear though and there was never any danger of any of my parts being exposed, but I can understand that the fear of having to see my unmentionables could cause undue anxiety on just about anyone. I'm sorry.
Top Ten Golem's of all Time: Number 7
The Golem, from Marvel's Strange Tales.
I've got no commentary for this one. Number 6 will be disclosed after this return bit more of the inane conversation I'm having with the main character of the book.
MURKY GETS VAIN!!!!
"But," I ask him, "what about all the women in the book, isn't it weird that you want to sleep with all of them, sometimes in the same sentence?"
"Well, I like the ladies, don't tell me you don't have crushes on anyone, and feel like this one person is the perfect person for you, but then you think no, this person is, and then you think really I just might want to bang that slutty looking shiska that does the lewd gestures with her mouth and shows her panties to deaf boys."
"But it's like every woman character in the book, shit even the waitress towards the end doesn't make it through the scene without her top almost popping open under the mental undressing she's given."
"This is rich coming from a person who wrote a novel that contains one woman character, and you make her a stripper."
"This isn't about me, this is about you and the book your in."
"Whatever, it sounds to me like you are the one with the hang-ups. Maybe it's natural to want to be passionate with lots of women, maybe all the women you know. What isn't natural is the way you won't even admit to having any crushes on any of the very intelligent and attractive ladies on goodreads. Why won't you just give Alfonso what he wants and answer the question?"
"Ok, ok you win..... my goodreads.com crushes are Top Ten Golems of All Time: Number 6
This golem:
from what might be Magic: The Gathering. How will Alfonso react to my not so cunning evasion of what I know was the one part of the challenge that he really wanted me to answer? Will he find any irony or humor that I skipped over his beloved question with a Magic card? Find out below in the comment section, and stay tuned for the top half of the all-time golems!
A long story short
"How interesting, you have crushes on them? I would have never guessed."
"Look it's been fun but I'm getting really bored with talking to you, so why don't you go fuck off and I'll go on writing this review with you."
"That was not polite."
"Look just fuck off, go away, I'm tired to writing a review in the form of a conversation. It's been done, I've done it, know kindly get the fuck away from me so I can have my Orange Julius and Mrs. Fields cookies in peace."
Top Ten Golems of all time: Number 5
Myspace sensation: the band Golem.
(picture went bye-bye)
Maybe they aren't a sensation on Myspace, but they have a Myspace page. You know who else has a Myspace Page for music?
You can go listen to four songs I recorded right now if you want! I'd recommend "Live for Me". For those of you who don't know me personally you can hear what my whiney voice sounds like.
Only four more to go!
Hail Satan!
Hey all. Demon here! LOLZ!!!!
I was invited to say something, and WTF! I dunno wat to s@y!!!! LOLZ.....
Where did U?!? think text-message speak came from?
So I've got this forum to talk, and I'm gonna set the record straight (SHOUTZ to LUCIFER and SATAN!!!! WooHooo LUZ U GUYZ (not in a fag way!!! whooo woooo).
I don't like tYping 2 much (^^^666^^^!!!), so go here:
And see what all U FAGZ who think PPL evoluted from SLIME are STOOOPID. UP YRS SAM HARRIS!!!! MY dawg SATAN says it aint TRU!!!
SUk A DICK RICHARD DAWKINS!!!!
HAIL SATAN@@@@@@@@@@
Im OUT!!! (but not in a fag way)
AND END SCENE
Sorry, I had to invite a demon to say some words.
Top Ten Golems in History: Number 4
Gollum!
He should be number one, but he's not really a golem (neither are Eli Roth or the band but they are in spirit). He is the most famous on the list and more people will think of him when they hear golem than some mud creation in Jewish folklore.
Yep, keep on reading, and you'll get to see who the top three are.........
On and on and on with this review
I don't know if you realize, but I've been writing this thing for days now. I have no idea if it is coherent, and I have a feeling that you might be getting as tired reading it right now as I am writing it. I sort of felt the same blahness about reading the book though. You know what would have made the book more exciting? If the motherfucking Penetrator had been in it. First of all if he had been the main character, or any character he would have banged all three of those women, plus some others that we didn't even see in the book. They would sleep with him and thirty minutes later have had the best experience of their lives, and they would feel empty inside for the rest of their miserable existence because they would know that the Penetrator would never come back their way again. But they would also feel great because they had gotten to 'know' him and his manly mustache.
But really the part of the book that would have been greatly improved was the drawn out jail scene. If the Penetrator had been in that jail he would have killed everyone, and escaped in one chapter. And if he hadn't been in jail he would have killed everyone guarding the main character and gotten him out and then went and fucked the ladies while the freed main character cried in the corner because he could never be even ten percent of the man that the Penetrator is. This book should have been a Penetrator novel, a lot more would have happened in it.
Another Aside
This challenge has been hell for me. I blame myself and not the challenge itself. This has taken me weeks now. It hangs over my head and taunts me. More than once I've thought to myself once I finish this review I'll never write another one.
Here is a Morrissey song that sort of captures how I feel about writing reviews right now (actually mostly just the last two lines are relevant, but it's a great song anyway).....
Top Ten Golems of All-Time: Number 3
Der Golem! from the 1920 German film.
A Story! Of which has no relevance to anything to do with this book, but which could have if the book had been about my childhood, which it isn't
(note: I was going to use the throwing a stick through the spokes of a bully's bike but that story has already been used in another review, so instead here is another bad-ass story of my youth)
There were two douchebags that lived up the street from me. They were in high school or maybe older. They drove a car. They were probably the equivalent of the early 80's version of what those idiots on the Jersey Shore are. You know guidos, or jerk-offs from Jersey. Which is fitting since I lived in Jersey at this point. They liked to drive really fast and yell things out the window of their car and sometimes drive over our lawn when taking the corner that my house was on. So one day they came speeding down the hill and as they were passing my house I gave them the middle finger and yelled, "You fuck your mother, assholes!" They screeched to a stop and threatened me and I told them I thought they were someone else and the one in the passenger seat told me not to make the mistake again and they peeled out. I guess it would have been more badass if I had told them they really did fuck their mom and then ended up once again in a fetal position while getting kicked in my side like on two other occasions of me doing something stupid to some older meathead, but instead I took it back. Badass.
To relate this to the book, if I had seen the golem wandering around the city and I had been eight I like to think that I would have yelled at him that he fucks his mother, and I would have looked all bad-ass because everyone else was all scared of him, and seriously who should be scared of a mound of mud with a piece of paper in his mouth? He probably doesn't have a mother to fuck though, so it would have been even funnier.
(the review continues in comment number 51......)
I should first warn anyone reading this review that I suck at reading and you'd probably be better off reading reviews written by people who don't suck at reading. I only discovered my reading suckness last week, so I shamefully apologize for anyone who has read any of my six hundred and eight other reviews and thought they were reading a review written by someone who didn't suck. This review is probably a much more informative review than mine:
AVERT SMUG INKY!
I went to the mall because that is what I do for fun. I hang out at the mall. Specifically at the little tables with the uncomfortable metal and wooden slat chairs that are in between the Orange Julius, the Mrs. Fields and the Arby's. Or as I like to call it the tables in the triangle of heavenly delight. I'm in the middle of enjoying my third roast beef sandwich of the afternoon when this guy forcefully sets himself in the seat across from me.
"Athanasius Pernath," he says.
I hunker down and use my left arm to encircle my remaining uneaten roast beef sandwich small pile of cookies and two Orange Julius drinks. I glare at the man. He is wearing a hat. When I don't say anything he takes his hat off and shows me the name stitched on the inside of the hat. It says Athanasius Pernath.
"Some mornings I need to look at my hat to see what my name is," he says.
I say nothing, I must finish my delicious Arby's sandwich. He is ruining my enjoyment of only the third one of the day. Damn this man. That is what I think. So I tell him.
"Damn you man!" and a minute later we are talking like best friends and I have offered to let him share in some of my food and beverage.
GIVE NASTY MURK!
That's all a lie. But that is exactly how I met the main character of The Golem one afternoon at the mall. We would talk for a while about things, and those things will be partially shared as the review goes on.
But before I get to anything as interesting as my conversation with Athanasius Pernath I need to give a big FUCK YOU! shout out to that taint-tickling, rectum-felching, choad-sucking, chulo-reaming, baby-gook-rimming, honkey-pus-sucking, heeb-analizer Atiba. That's right, fuck you Atiba. Fuck you existing. It's because you exist that this book exists and that I had to read it. It's not that the book is bad I realized you auto-erotic-fisting freak, but that because you fucking exist that this book is as bad as it is. If you had just been a bloody-cum squirt out of your mother's rotten vag than this book would have been better.
This is a picture from the book!
YUM, TRIG KNAVES!
!~~~~~~~~~~~~An @$1d3~~~~~~~~~~~~~~!
TOP TEN GOLUMS. EVER!!!!!!!
Number 10. Golem. From Pokemon!
Stay tuned for the next nine, we'll be counting them down all motherfucking review!!! Speaking of countdowns, that just reminded me of , so you should listen to it while you continue to read this review.
VEGAN TRIMS YUK!
Back at the mall.
"I don't understand, why you didn't like the book, why you didn't like me?"
"Maybe I just didn't understand the book, I'm fairly certain I don't know how to read."
"That is interesting, I don't know my name sometimes."
"I noticed that in the book. Part of what confused me was it started off in Prague."
"That is correct."
"And then, Frodo was with the giant tree people, but were you still in Prague then? And I never quite understood how Golem got out of that room he was in and why he cared so much about the ring. Did the ring also only appear every thirty-three years?"
"I have no idea what you're taking about. I think you may be confusing different stories."
"No, it's the story about the Golem, the one that the weird Jewish sorcerer Gangdoff or Dumbledore or something like that created and then he talked to some hobbits and convinced them to help him fight the weird flaming vagina that was controlled by the Jewish junkdealer who lived across the street from Frodo and how had the slutty looking daughter who slept with the orcs. And the weird Jewish magician had a buxom and hot daughter who was queen of the Elf Land, right? And then there was that other woman, the saucy blonde who wanted Frodo to help her decieve the evil junkdealer who was trying to tell the world what a dirty whore she was, but Frodo had enough trouble with the Golem who was following him around everywhere, and then....."
"Do you think I'm Frodo?"
"Maybe you are. You're the one who is only aware of his name by what is printed on the inside of your hat."
"The story is about Dopplegangers. It's not about hobbits and Frodos."
"That's what the introduction says too, I'm not a very good reader though. But you know, there is this website I'm on called goodreads.com, which I sully by my very non-good reader existence, and I've been made aware of my deficiencies as a reader. I fear that if I ever wrote a review for the book no one would read it even to the point where I tried to defend myself."
"Why would someone not read what you have to say, maybe if you just stopped confusing the plot of my story with that of Bilbo..."
"Ha! You are really part of the Hobbit story! I knew it!"
"No, you are confused, you are probably caught in some frightening dream..."
"A dream? Let me tell you about a dream."
A Dream. With Dream Photographs
Like most of my boring dreams this one took place at work. My subconscious so infused with the boredom and tedium of my everyday world that even dreaming was no escape from it.
I know that hearing about someone else's dream is about as exciting as paint drying, but please bear with me.
I went into the backroom at work. I don't know why. I had to do it. You know what it's like in dreams. And what did I find? My whole being felt the horror approaching. And I was powerless to stop myself from moving on. I must go on. I must not. The HORROR! Terror no mere mortal has ever felt as I moved on. And in that back room I came face to face with it!
The Golem. It's yellow skin looking at me from the cover of the Dover edition of the book! I had never been so afraid in my whole life. I thought I would go mad! Madness! Arrggghhh!!
But, lest I be trapped in the insanity of my dream forever, I knew I must muster up all my strength and fight this terror! And so I did.
I prepared to attack!
The Golem showed no fear. So I struck.
And I hit him. And the laughter rang out from inside its pages. "You can not hurt me!" the book taunted.
"No?" I asked. And I tore into him.
And he gasped. I could feel his own terror. He knew I would destroy him.
And I stomped him into the ground.
And as he lay broken and shattered, and I emerged victorious from a battle I hope never to have to engage in again I told him what I thought of him. "Fuck you, Golem," I bellowed.
And then I awoke.
Top Ten Golem's of All-Time: Number 9
The Golem from this book:
Keep checking back because I'm not going to fucking stop until I get to the motherfucking top.
A Stinky Mug Rev!!!
"You really have no idea what this book is about do you?" the character from the novel asked me.
"Of course I do. But since you think you know everything, what do you think the book is about?"
"It is about Doppelgangers. Do you even know what one is?"
"I'm not an idiot, of course I do. In fact I have one on 欧宝娱乐.com"
"You have one?"
"Yes."
The Story of My 欧宝娱乐.com Doppelganger(s)
Obviously my doppelganger is David Kowalski. I can't go into too many details about the why he is, and I certainly can not describe the metaphysical reasons how this all came about, but a doppelganger is an apparition of a living person. I am the living person and he is a ghostly double that is actually much wittier and a better writer than I am, but he is in fact my goth double trapped in the netherland purgatory of Indiana. Really the only proof I'm allowed to divulge at this time is that when our ectoplasmic connections become too strained, or when I threaten to grow a life of my own and take over from him the life forces that we share he disappears from the interwebs and all evidence of his ever having existed on goodreads.com disappears with him. For the good of everyone it would probably be better if things worked the other way, where I would just disappear with my long rambling nonsensical reviews, but he's the apparition and there isn't anything I can do about that. Maybe in the future that will change and I'll become the apparition and then I'll disappear, taking all my foul-mouthed reviews with me.
Top Ten Golem's of All-Time: Number 8
Donny "the Bear Jew" Donowitz from Inglourious Basterds. Who the German Army call a golem!
Keep it on this station to see what will be in the top seven golem's of all time!
An Aside, which really isn't an aside since there is no real non-aside to this review so far
Alfonso believes that I intentionally tried to traumatize him by wearing pants that were torn in the crotch area and he thinks I was trying to get him to see my 'junk' as he calls it. I don't think anyone in the world wants to see my 'junk' and it was only the comfort of the pants that overrode the possible shame involved in wearing torn pants that made me continue wearing them. I had no idea that I was possibly causing any horror by my wardrobe to people who might be sitting on the floor at Barnes and Noble trying to read. Please accept my sincerest apology to anyone who felt uncomfortable by my holey pants. I always wear underwear though and there was never any danger of any of my parts being exposed, but I can understand that the fear of having to see my unmentionables could cause undue anxiety on just about anyone. I'm sorry.
Top Ten Golem's of all Time: Number 7
The Golem, from Marvel's Strange Tales.
I've got no commentary for this one. Number 6 will be disclosed after this return bit more of the inane conversation I'm having with the main character of the book.
MURKY GETS VAIN!!!!
"But," I ask him, "what about all the women in the book, isn't it weird that you want to sleep with all of them, sometimes in the same sentence?"
"Well, I like the ladies, don't tell me you don't have crushes on anyone, and feel like this one person is the perfect person for you, but then you think no, this person is, and then you think really I just might want to bang that slutty looking shiska that does the lewd gestures with her mouth and shows her panties to deaf boys."
"But it's like every woman character in the book, shit even the waitress towards the end doesn't make it through the scene without her top almost popping open under the mental undressing she's given."
"This is rich coming from a person who wrote a novel that contains one woman character, and you make her a stripper."
"This isn't about me, this is about you and the book your in."
"Whatever, it sounds to me like you are the one with the hang-ups. Maybe it's natural to want to be passionate with lots of women, maybe all the women you know. What isn't natural is the way you won't even admit to having any crushes on any of the very intelligent and attractive ladies on goodreads. Why won't you just give Alfonso what he wants and answer the question?"
"Ok, ok you win..... my goodreads.com crushes are Top Ten Golems of All Time: Number 6
This golem:
from what might be Magic: The Gathering. How will Alfonso react to my not so cunning evasion of what I know was the one part of the challenge that he really wanted me to answer? Will he find any irony or humor that I skipped over his beloved question with a Magic card? Find out below in the comment section, and stay tuned for the top half of the all-time golems! A long story short
"How interesting, you have crushes on them? I would have never guessed."
"Look it's been fun but I'm getting really bored with talking to you, so why don't you go fuck off and I'll go on writing this review with you."
"That was not polite."
"Look just fuck off, go away, I'm tired to writing a review in the form of a conversation. It's been done, I've done it, know kindly get the fuck away from me so I can have my Orange Julius and Mrs. Fields cookies in peace."
Top Ten Golems of all time: Number 5
Myspace sensation: the band Golem.
(picture went bye-bye)
Maybe they aren't a sensation on Myspace, but they have a Myspace page. You know who else has a Myspace Page for music?
You can go listen to four songs I recorded right now if you want! I'd recommend "Live for Me". For those of you who don't know me personally you can hear what my whiney voice sounds like.
Only four more to go!
Hail Satan!
Hey all. Demon here! LOLZ!!!!
I was invited to say something, and WTF! I dunno wat to s@y!!!! LOLZ.....
Where did U?!? think text-message speak came from?
So I've got this forum to talk, and I'm gonna set the record straight (SHOUTZ to LUCIFER and SATAN!!!! WooHooo LUZ U GUYZ (not in a fag way!!! whooo woooo).
I don't like tYping 2 much (^^^666^^^!!!), so go here:
And see what all U FAGZ who think PPL evoluted from SLIME are STOOOPID. UP YRS SAM HARRIS!!!! MY dawg SATAN says it aint TRU!!!
SUk A DICK RICHARD DAWKINS!!!!
HAIL SATAN@@@@@@@@@@
Im OUT!!! (but not in a fag way)
AND END SCENE
Sorry, I had to invite a demon to say some words.
Top Ten Golems in History: Number 4
Gollum!
He should be number one, but he's not really a golem (neither are Eli Roth or the band but they are in spirit). He is the most famous on the list and more people will think of him when they hear golem than some mud creation in Jewish folklore.
Yep, keep on reading, and you'll get to see who the top three are.........
On and on and on with this review
I don't know if you realize, but I've been writing this thing for days now. I have no idea if it is coherent, and I have a feeling that you might be getting as tired reading it right now as I am writing it. I sort of felt the same blahness about reading the book though. You know what would have made the book more exciting? If the motherfucking Penetrator had been in it. First of all if he had been the main character, or any character he would have banged all three of those women, plus some others that we didn't even see in the book. They would sleep with him and thirty minutes later have had the best experience of their lives, and they would feel empty inside for the rest of their miserable existence because they would know that the Penetrator would never come back their way again. But they would also feel great because they had gotten to 'know' him and his manly mustache.
But really the part of the book that would have been greatly improved was the drawn out jail scene. If the Penetrator had been in that jail he would have killed everyone, and escaped in one chapter. And if he hadn't been in jail he would have killed everyone guarding the main character and gotten him out and then went and fucked the ladies while the freed main character cried in the corner because he could never be even ten percent of the man that the Penetrator is. This book should have been a Penetrator novel, a lot more would have happened in it.
Another Aside
This challenge has been hell for me. I blame myself and not the challenge itself. This has taken me weeks now. It hangs over my head and taunts me. More than once I've thought to myself once I finish this review I'll never write another one.
Here is a Morrissey song that sort of captures how I feel about writing reviews right now (actually mostly just the last two lines are relevant, but it's a great song anyway).....
Top Ten Golems of All-Time: Number 3
Der Golem! from the 1920 German film.
A Story! Of which has no relevance to anything to do with this book, but which could have if the book had been about my childhood, which it isn't
(note: I was going to use the throwing a stick through the spokes of a bully's bike but that story has already been used in another review, so instead here is another bad-ass story of my youth)
There were two douchebags that lived up the street from me. They were in high school or maybe older. They drove a car. They were probably the equivalent of the early 80's version of what those idiots on the Jersey Shore are. You know guidos, or jerk-offs from Jersey. Which is fitting since I lived in Jersey at this point. They liked to drive really fast and yell things out the window of their car and sometimes drive over our lawn when taking the corner that my house was on. So one day they came speeding down the hill and as they were passing my house I gave them the middle finger and yelled, "You fuck your mother, assholes!" They screeched to a stop and threatened me and I told them I thought they were someone else and the one in the passenger seat told me not to make the mistake again and they peeled out. I guess it would have been more badass if I had told them they really did fuck their mom and then ended up once again in a fetal position while getting kicked in my side like on two other occasions of me doing something stupid to some older meathead, but instead I took it back. Badass.
To relate this to the book, if I had seen the golem wandering around the city and I had been eight I like to think that I would have yelled at him that he fucks his mother, and I would have looked all bad-ass because everyone else was all scared of him, and seriously who should be scared of a mound of mud with a piece of paper in his mouth? He probably doesn't have a mother to fuck though, so it would have been even funnier.
(the review continues in comment number 51......)
July 1, 2024
The Golem is a high-brow literary thriller. Very readable, even re-readable. Here's what the great wrote about it in 1936: "...An extraordinarily visual book that enchantingly combines mythology, eroticism, tourism, the 'local color' of Prague, prophetic dreams, dreams of past or future lives, and even reality." A "wonderful book." This quote is from a brief review of Meyrink's later The Angel of the Western Window, about which Borges was far less enthusiastic. See Jorge Luis Borges, .
November 18, 2023
There are plenty of reviews here already for this oneiric/nightmarish German masterpiece, but after my recent reread, I thought I鈥檇 comment on the two different English translations, as there鈥檚 not much out there on the topic in internetland (at least that I鈥檝e found). Some potential reader may find it useful.
While overall I think I prefer the more recent Mike Mitchell translation from 1995*, as it鈥檚 much clearer and more direct, and with slightly more modern-ish prose, there鈥檚 something about the 1928 Madge Pemberton version that I like as well. It can be a bit opaque and harder to follow at times, but there鈥檚 more of a strangeness or otherworldliness to the writing that suited the story. I鈥檇 recommend reading the Mitchell (published by Dedalus) first for clarity鈥檚 sake, and if you ever decide to have another go at it, check out the Pemberton (published by Dover) for a more detached, foggier sort of vibe.
It鈥檚 hard to get a feel for the styles based on short snippets, but here are a couple examples of the differences in approach, both from the second chapter:
(Pemberton)
Once, long, long ago, it is in my mind that somehow or other I took the wrong hat by mistake; at the time I was surprised how well it fitted me, for the shape of my head I always thought peculiar to myself. I had glanced at that time, down at the lining of the hat, and observed, in letters of gold in the white silk:
ATHANASIUS PERNATH
And, for some reason I did not understand, the hat filled me with fear and dislike.
(Mitchell)
I think 鈥� I think that once, a long, long time ago, I took the wrong hat somewhere, and even then I was surprised that it fitted me so well, since my head has a very individual shape. And I looked into this hat that belonged to someone else 鈥� all those years ago, and 鈥� yes 鈥� there it was in letters of gold on the white silk lining:
ATHANASIUS PERNATH
I was wary of the hat, frightened of it, though I didn鈥檛 know why.
鈥斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌�
(Pemberton)
I did not meet her look.
I detested that insistent smile of hers and her waxy, rocking-horse face.
Her flesh must be white, surely, like that of the axolotl that I saw the other day at the birdshop in the salamander鈥檚 cage.
As for the eyelashes of the red-haired, I鈥檇 as soon contemplate those of a young rabbit.
(Mitchell)
I avoided her glances.
Her teasing smile and waxy, rocking-horse face disgust me. I feel she must have white, bloated flesh, like the axolotl I saw just now in the tank of salamanders in the pet-shop. I find the eye-lashes of people with red hair as repulsive as those of rabbits.
I have no idea which is considered more 鈥渁ccurate鈥�, but Mitchell鈥檚 is a bit more immersive to me, and Meyrink鈥檚 humor comes across better as well. I noticed I tend to favor more recent translations in general, despite my usual preference for vintage books. That trend continues here for the most part. Either way, you can鈥檛 really go wrong with either. Some damn eerie atmosphere any way you slice it.
* ETA: I know Mitchell revised his 1995 translation to some degree in more recent years, but I鈥檓 not aware of what the differences are between the two. I only have experience with the 1995 Dedalus edition. Also, the 70s Dover editions of Pemberton鈥檚 translation were 鈥渆mended鈥�** by the literary scholar and editor E.F. Bleiler, which is what I鈥檇 read (and quoted here).
** TIL that 鈥渆mended鈥� is a word that means something slightly different from 鈥渁mended鈥�.
While overall I think I prefer the more recent Mike Mitchell translation from 1995*, as it鈥檚 much clearer and more direct, and with slightly more modern-ish prose, there鈥檚 something about the 1928 Madge Pemberton version that I like as well. It can be a bit opaque and harder to follow at times, but there鈥檚 more of a strangeness or otherworldliness to the writing that suited the story. I鈥檇 recommend reading the Mitchell (published by Dedalus) first for clarity鈥檚 sake, and if you ever decide to have another go at it, check out the Pemberton (published by Dover) for a more detached, foggier sort of vibe.
It鈥檚 hard to get a feel for the styles based on short snippets, but here are a couple examples of the differences in approach, both from the second chapter:
(Pemberton)
Once, long, long ago, it is in my mind that somehow or other I took the wrong hat by mistake; at the time I was surprised how well it fitted me, for the shape of my head I always thought peculiar to myself. I had glanced at that time, down at the lining of the hat, and observed, in letters of gold in the white silk:
ATHANASIUS PERNATH
And, for some reason I did not understand, the hat filled me with fear and dislike.
(Mitchell)
I think 鈥� I think that once, a long, long time ago, I took the wrong hat somewhere, and even then I was surprised that it fitted me so well, since my head has a very individual shape. And I looked into this hat that belonged to someone else 鈥� all those years ago, and 鈥� yes 鈥� there it was in letters of gold on the white silk lining:
ATHANASIUS PERNATH
I was wary of the hat, frightened of it, though I didn鈥檛 know why.
鈥斺赌斺赌斺赌斺赌斺赌斺赌斺赌斺赌�
(Pemberton)
I did not meet her look.
I detested that insistent smile of hers and her waxy, rocking-horse face.
Her flesh must be white, surely, like that of the axolotl that I saw the other day at the birdshop in the salamander鈥檚 cage.
As for the eyelashes of the red-haired, I鈥檇 as soon contemplate those of a young rabbit.
(Mitchell)
I avoided her glances.
Her teasing smile and waxy, rocking-horse face disgust me. I feel she must have white, bloated flesh, like the axolotl I saw just now in the tank of salamanders in the pet-shop. I find the eye-lashes of people with red hair as repulsive as those of rabbits.
I have no idea which is considered more 鈥渁ccurate鈥�, but Mitchell鈥檚 is a bit more immersive to me, and Meyrink鈥檚 humor comes across better as well. I noticed I tend to favor more recent translations in general, despite my usual preference for vintage books. That trend continues here for the most part. Either way, you can鈥檛 really go wrong with either. Some damn eerie atmosphere any way you slice it.
* ETA: I know Mitchell revised his 1995 translation to some degree in more recent years, but I鈥檓 not aware of what the differences are between the two. I only have experience with the 1995 Dedalus edition. Also, the 70s Dover editions of Pemberton鈥檚 translation were 鈥渆mended鈥�** by the literary scholar and editor E.F. Bleiler, which is what I鈥檇 read (and quoted here).
** TIL that 鈥渆mended鈥� is a word that means something slightly different from 鈥渁mended鈥�.
May 8, 2024
The Golem describes a mystical, miasmic, atmospheric, obscure Prague ghetto from the turn of the century through the words of a narrator with a broken memory, which reflects on his narration. Broken passages, descriptions of the Prague ghetto, of people living in it and a Golem that emerges every 33 years from a room without a door and walks the streets - all glued together to form a barely coherent body of text, not unlike a golem itself. Quite fascinating, weird.
I just wish I had read the German original instead of the English and Turkish translations.
I just wish I had read the German original instead of the English and Turkish translations.
May 17, 2020
危蔚 苇谓伪 伪蟺蠈位蠀蟿伪 伪蟿渭慰蟽蠁伪喂蟻喂魏蠈, 蔚蟻蔚尾蠋未蔚蟼 魏伪喂 蟽伪纬畏谓蔚蠀蟿喂魏蠈 渭蠀胃喂蟽蟿蠈蟻畏渭伪, 蟽蔚 蟿蟻喂伪魏蠈蟽喂蔚蟼 魏伪喂 蟺位苇慰谓 蟽蔚位委未蔚蟼 渭蠀蟽蟿畏蟻喂蠋未慰蠀蟼 渭蟺伪蟻蠈魏 蟻慰渭伪谓蟿喂蟽渭慰蠉 (蟺蠈蟽慰, 伪位萎胃蔚喂伪, 蟽蠀渭尾维位位慰蠀谓 蟽蟿畏谓 魏伪蟿伪渭维纬蔚蠀蟽畏 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏 慰喂 蟽魏慰蟿蔚喂谓苇蟼 位喂胃慰纬蟻伪蠁委蔚蟼 蟿慰蠀 Hugo Steiner - Prag 蟺慰蠀 魏慰蟽渭慰蠉谓 蟿畏谓 苇魏未慰蟽畏!), 蟽蔚 渭喂伪 慰谓蔚喂蟻喂魏萎 蟺蔚蟻喂未委谓畏蟽畏 蟽蟿伪 魏伪魏慰蠁蠅蟿喂蟽渭苇谓伪 蟽慰魏维魏喂伪 蟿畏蟼 蔚尾蟻伪蠆魏萎蟼 蟽蠀谓慰喂魏委伪蟼, 蟿慰蠀 纬魏苇蟿慰, 蟿畏蟼 螤蟻维纬伪蟼 蟿蠅谓 伪蟻蠂蠋谓 蟿慰蠀 蔚喂魏慰蟽蟿慰蠉 伪喂蠋谓伪, 魏伪喂 蟽蟿慰蠀蟼 伪位位蠈魏慰蟿慰蠀蟼 蔚魏蔚委谓慰蠀蟼 伪谓胃蟻蠋蟺慰蠀蟼, 蟿慰蠀蟼 喂未喂蠈蟻蠀胃渭慰蠀蟼 蟿蟻蔚位慰蠉蟼 (伪蟺蠈 苇蟻蠅蟿伪, 蟺蠈胃慰 纬喂伪 蠂蟻萎渭伪蟿伪, 伪纬维蟺畏 纬喂伪 蟿畏 味蠅萎), 蟺慰蠀 蟺蔚蟻喂蠁苇蟻慰谓蟿伪谓, 蠁蟿蠅蠂慰委 魏伪喂 渭蠈谓慰喂, 蟽蟿伪 魏伪魏蠈蠁畏渭伪 魏伪蟺畏位蔚喂维 魏伪喂 蟺慰蟻谓蔚委伪 蟿畏蟼 蟺蠈位畏蟼, 畏 谓伪谓慰蔚喂未萎蟼 蠁喂纬慰蠉蟻伪 蟿慰蠀 螕魏蠈位蔚渭, 蟿慰蠀 蟿蔚蠂谓畏蟿慰蠉 蔚魏蔚委谓慰蠀 伪谓胃蟻蠋蟺慰蠀 蟺慰蠀 渭蔚 尾维蟽畏 蟿喂蟼 蠀蟺慰未蔚委尉蔚喂蟼 魏伪喂 蟿伪 魏蔚委渭蔚谓伪 蟿畏蟼 魏伪尾维位伪 苇蠁蟿喂伪尉蔚 苇谓伪蟼 蟻伪尾委谓慰蟼 (魏维蟺慰蠀 蟽蟿慰谓 17慰 伪喂蠋谓伪) 魏伪喂 蔚纬魏伪蟿伪尾喂蠋谓蔚喂 蟺位苇慰谓 蟽蟿伪 蠀蟺蠈纬蔚喂伪 蟿畏蟼 螤伪位喂维蟼 危蠀谓伪纬蠅纬萎蟼, 渭蟺慰蟻蔚委 谓伪 渭畏谓 未喂伪未蟻伪渭伪蟿委味蔚喂 蟽蟺慰蠀未伪委慰 蟻蠈位慰 蟽蟿畏谓 蔚尉苇位喂尉畏 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 蟺慰蠀 伪蠁畏纬蔚委蟿伪喂 (蠀蟺苇蟻慰蠂伪) 慰 螠苇喂蟻喂谓魏, 伪位位维 蠀蟺维蟻蠂蔚喂 纬喂伪 谓伪 胃蠀渭委味蔚喂 蠈蟿喂 螒蠀蟿蠈蟼, 慰 螕魏蠈位蔚渭, 蟺伪蟻伪渭苇谓蔚喂 蟿慰 伪蟺蠈位蠀蟿慰 蟺谓蔚蠉渭伪 蟿慰蠀 纬魏蔚蟿慰.
February 24, 2020
螚 伪蟻蠂萎 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 位苇谓蔚 蟺蠅蟼 蠂维谓蔚蟿伪喂 魏维蟺慰蠀 蟽蟿慰谓 17慰 伪喂蠋谓伪.
螝维蟺慰喂慰蟼 蟻伪尾委谓慰蟼 渭蔚 蟿喂蟼 伪蟺慰魏蟻蠀蠁喂蟽蟿喂魏苇蟼 蠀蟺慰未蔚委尉蔚喂蟼
魏伪喂 蟿伪 魏蔚委渭蔚谓伪 蟿畏蟼 魏伪渭蟺维位伪 未畏渭喂慰蠉蟻纬畏蟽蔚 苇谓伪谓 蟿蔚蠂谓畏蟿蠈 维谓胃蟻蠅蟺慰, 蟿慰谓 蔚蟺慰谓慰渭伪味蠈渭蔚谓慰 螕魏蠈位蔚渭.
螣 螕魏蠈位蔚渭 蟿慰蟺慰胃蔚蟿蔚委蟿伪喂 蟽蟿慰 蠂蠋蟻慰 魏维蟺慰蠀 伪谓维渭蔚蟽伪 蟽蟿慰谓 渭蠉胃慰 魏伪喂 蟿畏谓 蟺伪蟻维未慰蟽畏 蟿畏蟼 蔚尾蟻伪蠆魏萎蟼 蟺委蟽蟿畏蟼,
渭蔚 蟿蠈蟽蔚蟼 未喂伪未蠈蟽蔚喂蟼 魏伪喂 蠀蟺蔚蟻尾慰位苇蟼, 蟺慰蠀 蟿蔚位喂魏维 魏伪蟿伪蟽蟿蟻苇蠁慰谓蟿伪喂 伪蟺慰 蟿慰 委未喂慰 蟿慰 伪未蠉谓伪蟿慰 蟿畏蟼 蠉蟺伪蟻尉畏蟼 蟿慰蠀蟼.
螣 螕魏蠈位蔚渭 萎蟿伪谓 蠀蟺畏蟻苇蟿畏蟼 蟿慰蠀 蟻伪尾委谓慰蠀 蟺慰蠀 蟿慰谓 苇蠁蟿喂伪尉蔚, 苇魏伪谓蔚 蟿喂蟼 蠂慰谓未蟻慰未慰蠀位蔚喂苇蟼 蟺慰蠀 蟿慰蠀 伪谓苇胃蔚蟿蔚
魏伪喂 蠂蟿蠀蟺慰蠉蟽蔚 蟿喂蟼 魏伪渭蟺维谓蔚蟼 蟿畏蟼 蟽蠀谓伪纬蠅纬萎蟼.
螤慰蟿苇 未蔚谓 魏伪蟿维蠁蔚蟻蔚 谓伪 渭蔚蟿伪蟻蟽喂蠅胃蔚委 蟽蔚 蟺蟻伪纬渭伪蟿喂魏蠈 维谓胃蟻蠅蟺慰. 螠蟺慰蟻慰蠉蟽蔚 渭慰谓维蠂伪 谓伪 伪蟺慰魏蟿萎蟽蔚喂 渭喂伪 慰谓蔚喂蟻喂魏维 胃伪渭蟺萎 渭喂蟽慰蟽蠀谓蔚委未畏蟿畏 蠄蔚蠀蟿慰味蠅萎 蟺慰蠀 蔚委蠂蔚 未蠀谓维渭蔚喂蟼 渭慰谓维蠂伪 蟿畏谓 渭苇蟻伪.
螚 蠉蟺伪蟻尉畏 蟿慰蠀 魏蟻蔚渭蠈蟿伪谓 伪蟺慰 苇谓伪 蟽畏渭蔚委蠅渭伪, 委蟽蠅蟼, 渭伪纬喂魏蠈, 蟺慰蠀 蟿慰蟺慰胃蔚蟿慰蠉蟽蔚 慰 蟻伪尾委谓慰蟼 蟺委蟽蠅 伪蟺慰 蟿伪 未蠈谓蟿喂伪 蟿慰蠀 蟺位维蟽渭伪蟿慰蟼, 蟿慰 蟽畏渭蔚委蠅渭伪 蟽蠀纬魏苇谓蟿蟻蠅谓蔚 蠈位蔚蟼 蟿喂蟼 蔚位蔚蠉胃蔚蟻蔚蟼 伪蟽蟿蟻喂魏苇蟼 未蠀谓维渭蔚喂蟼 蟿慰蠀 蟽蠉渭蟺伪谓蟿慰蟼 蟺伪谓蠅 蟿慰蠀, 未委谓慰谓蟿伪蟼 味蠅萎 蟽蟿慰 蟺位维蟽渭伪 蠂蠅蟻委蟼 蠄蠀蠂萎.
螌蟿伪谓 魏维蟺慰喂慰 尾蟻维未蠀 蟿慰 渭伪纬喂魏蠈 蠂伪蟻蟿委 尉蔚蠂维蟽蟿畏魏蔚 蟽蟿慰 蟽蟿蠈渭伪 蟿慰蠀 螕魏蠈位蔚渭, 苇蟺伪胃蔚 渭伪谓喂伪魏蠈 蟽慰魏 魏伪喂 蟿蟻苇蠂慰谓蟿伪蟼 蟽蟿慰 蟽魏慰蟿维未喂 魏伪蟿苇蟽蟿蟻蔚蠄蔚 蟿伪 蟺维谓蟿伪.
螣 蔚纬蠅喂蟽蟿萎蟼 未畏渭喂慰蠀蟻纬蠈蟼, 慰 伪渭伪蟻蟿蠅位蠈蟼 蟻伪尾委谓慰蟼,
苇蟽魏喂蟽蔚 蟿慰 渭伪纬喂魏蠈 蠂伪蟻蟿委 渭蔚 蟿畏谓 蠁蠈蟻渭慰蠀位伪 蟿畏蟼 伪谓伪尾委蠅蟽畏蟼 蟿慰蠀 伪蟻蠂苇纬慰谓慰蠀 螌谓蟿慰蠀蟼 纬喂伪 魏伪蟿伪蟽蟿蟻蔚蟺蟿喂魏萎 尾委伪
魏伪喂 苇蟿蟽喂, 蟿慰 蟺位维蟽渭伪 伪蟺慰 蟺畏位蠈 蟽蠅蟻喂维蟽蟿畏魏蔚 谓蔚魏蟻蠈.
螉蟽蠅蟼 蟿慰 蟺萎位喂谓慰 慰渭慰委蠅渭伪 渭蔚 蟿伪 伪谓胃蟻蠋蟺喂谓伪 渭苇位畏
谓伪 萎蟿伪谓 苇谓伪 蟺蟻慰渭萎谓蠀渭伪 蟿畏蟼 蔚蟺慰蠂萎蟼 蟿慰蠀.
韦慰 蟺位维蟽渭伪 蔚谓蟽伪蟻魏蠋谓蔚喂 魏伪喂 蟽蟿慰喂蠂蔚喂蠋谓蔚喂 蟿慰 渭苇蟽伪 魏伪喂 蟿慰 苇尉蠅 蟿慰蟺委慰 蟺慰蠀 魏喂谓慰蠉谓蟿伪喂 魏伪喂 蠀蟺维蟻蠂慰蠀谓 慰喂 维谓胃蟻蠅蟺慰喂 蟽蟿慰 纬魏苇蟿慰 蟿畏蟼 螤蟻维纬伪蟼.
螛苇位蔚喂 谓伪 魏伪蟿伪蟽蟿蟻苇蠄蔚喂 魏维胃蔚 蟽蠀位位慰纬喂魏萎 蟺谓蔚蠀渭伪蟿喂魏萎 未畏渭喂慰蠀蟻纬委伪 蟽蟿慰谓 蟽魏慰蟿蔚喂谓蠈 魏蠈蟽渭慰 蟺慰蠀 蟽喂纬慰尾蟻维味蔚喂 蟽蔚 渭喂伪 未畏位畏蟿畏蟻喂伪蟽渭苇谓畏 伪蟿渭蠈蟽蠁伪喂蟻伪, 畏 慰蟺慰委伪 蟺伪蟻伪渭慰蟻蠁蠋谓蔚喂 魏伪喂 蔚尉蔚纬蔚委蟻蔚喂 蟺慰喂魏喂位蠈渭慰蟻蠁慰蠀蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼 伪谓胃蟻蠋蟺蠅谓, 伪蟺慰魏伪位蠉蟺蟿慰谓蟿伪蟼 蠈位慰蠀蟼 蟿慰蠀蟼 未喂蟺位慰蠉蟼, 蟿慰蠀蟼 维位位慰蠀蟼, 蟿慰蠀蟼 魏蟻蠀蠁慰蠉蟼 蟿蟻慰渭伪魏蟿喂魏慰蠉蟼 蔚伪蠀蟿慰蠉蟼.
螣 维纬谓蠅蟽蟿慰蟼 蟺慰蠀 尾蟻喂魏慰位伪魏喂维味蔚喂 魏维胃蔚 蟿蟻喂维谓蟿伪 蟿蟻委伪 蠂蟻蠈谓喂伪 , 蟽伪谓 蟿慰蠀蟼 胃蟻蠉位慰蠀蟼 蟿畏蟼 伪喂蠋谓喂伪蟼 蔚蟺喂蟽蟿蟻慰蠁萎蟼
委蟽蠅蟼 谓伪 渭畏谓 蔚委谓伪喂 魏维蟿喂 维位位慰 伪蟺慰 蟿畏 渭慰蟻蠁萎 蟺慰蠀 蠁伪谓蟿维蟽蟿畏魏蔚 慰 渭蔚蟽伪喂蠅谓喂魏蠈蟼 蟻伪尾委谓慰蟼 蟺蟻慰蟿慰蠉 渭蟺慰蟻苇蟽蔚喂 谓伪 蟿畏谓 蠀位慰蟺慰喂萎蟽蔚喂.
韦蠋蟻伪, 蟿慰 慰谓蔚喂蟻喂魏蠈 蟺伪蟻维未慰尉慰 蟽蠀谓伪谓蟿维蟿伪喂 蔚蟻蠅蟿喂魏维 蟽蠂蔚未蠈谓 渭蔚 渭喂伪 蔚尉委蟽慰蠀 渭伪纬喂魏萎 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪.
韦蠋蟻伪, 蟽蔚 蟿伪魏蟿维 未喂伪蟽蟿萎渭伪蟿伪, 蠈蟿伪谓 蔚蟺喂魏蟻伪蟿慰蠉谓 慰喂 委未喂蔚蟼 伪蟽蟿蟻喂魏苇蟼 蟽蠀谓胃萎魏蔚蟼 魏维蟿蠅 伪蟺慰 蟿喂蟼 慰蟺慰委蔚蟼 未畏渭喂慰蠀蟻纬萎胃畏魏蔚,
慰 螕魏蠈位蔚渭, 尉伪谓伪纬蠀蟻委味蔚喂, 尾伪蟽伪谓喂蟽渭苇谓慰蟼 魏伪喂 萎蟺喂伪 伪喂蠋谓喂慰蟼 伪蟺慰 蟿畏谓 胃苇位畏蟽畏 蟿慰蠀 纬喂伪 蔚谓蟽维蟻魏蠅谓蟽畏.
螒谓维渭蔚蟽伪 蟽蟿慰 蔚未蠋 魏伪喂 蟿慰 蔚魏蔚委, 蔚渭蠁伪谓委味蔚蟿伪喂 魏伪喂 慰未畏纬蔚委 魏伪蟿维 魏维蟺慰喂慰 蟿蟻蠈蟺慰 蟽蟿畏谓 魏维胃伪蟻蟽畏 蔚魏蟿慰谓蠋谓慰谓蟿伪蟼 尾委伪 魏伪喂 蟿蟻蠈渭慰.
螠蟺伪委谓慰蠀渭蔚 蟽蔚 魏维蟿喂 蟺慰位蠀未喂维蟽蟿伪蟿慰 伪谓维渭蔚蟽伪 蟽蔚 蠂蠅蟻慰蠂蟻蠈谓慰蠀蟼 魏伪喂 魏蠈蟽渭慰蠀蟼 蟺慰蠀 蠀蟺维蟻蠂慰蠀谓 慰 苇谓伪蟼 渭苇蟽伪 蟽蟿慰谓 维位位慰谓.
危蔚 渭喂伪 尾伪胃喂维 蟺谓蔚蠀渭伪蟿喂魏蠈蟿畏蟿伪 蟺慰蠀 蟿蟻慰渭维味蔚喂 蟿慰蠀蟼 伪渭蠉畏蟿慰蠀蟼 蟽蟿慰谓 蟺蠈谓慰 蟿畏蟼 谓蠈畏蟽畏蟼, 蟽蔚 伪蠀蟿慰蠉蟼 蟺慰蠀 未蔚谓 尉苇蟻慰蠀谓 谓伪 未喂蔚喂蟽未蠉慰蠀谓 蟽蟿慰 魏蔚谓蠈 蟿慰蠀 蠀蟺慰蟽蠀谓蔚委未畏蟿慰蠀.
螣 维纬谓蠅蟽蟿慰蟼 蟺蟻蠈纬慰谓慰蟼 蟿畏蟼 味蠅萎蟼 胃苇位蔚喂 谓伪 蔚纬魏蠀渭慰谓慰蠉谓 慰喂 蠄蠀蠂苇蟼, 渭萎蟺蠅蟼, 蟽蔚 魏维蟺慰喂伪 纬苇谓谓畏蟽畏, 渭喂伪 魏伪蟿伪位畏蟺蟿喂魏萎 蠄蠀蠂萎, 味蠅慰未蠈蠂慰蟼 魏伪喂 胃伪谓伪蟿畏蠁蠈蟻伪, 伪蠁萎蟽蔚喂 蟿慰 伪谓胃蟻蠋蟺喂谓慰 魏慰蟻渭委 魏伪喂 渭蔚蟿伪尾喂尾伪蟽蟿蔚委 蟽蟿慰 伪喂谓喂纬渭伪蟿喂魏蠈 慰谓, 蟽蟿慰 尉苇谓慰 蟺位维蟽渭伪, 蟺慰蠀 胃伪 伪蟺慰蟿蔚位蔚委 魏慰渭渭维蟿喂 蟺位苇慰谓 伪蟺慰 蟿畏谓 伪谓胃蟻蠋蟺喂谓畏 蠉蟺伪蟻尉畏, 伪蟺慰 蟿畏谓 慰蟺慰委伪 尉苇魏位蔚蠄蔚 伪谓维蟽蔚蟼 蠄蠀蠂萎蟼 魏伪喂 蔚谓蟽维蟻魏蠅蟽畏蟼.
螣 螕魏蠈位蔚渭 蔚委谓伪喂 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟿慰蠀 纬魏苇蟿慰 蟿畏蟼 螤蟻维纬伪蟼.
韦慰 蟽魏畏谓喂魏蠈 蔚委谓伪喂 蟽魏慰蟿蔚喂谓蠈, 渭蠀蟽蟿喂魏喂蟽蟿喂魏蠈 魏伪喂 蟺伪蟻伪渭慰蟻蠁蠅蟿喂魏蠈.
螚 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 魏伪喂 蟿慰 蠈谓蔚喂蟻慰, 畏 伪谓维渭谓畏蟽畏 魏伪喂 畏 慰蠀蟽委伪 蟿慰蠀 蟺伪蟻蠈谓蟿慰蟼 蔚喂蟽尾维位位慰蠀谓 蟿慰 苇谓伪 渭苇蟽伪 蟽蟿慰 维位位慰 魏伪喂 魏维蟺慰蠀 蟽蟿慰 尾维胃慰蟼 蟿慰蠀 渭委蟽慰蠀蟼, 蟿畏蟼 蟿蔚蟻伪蟿慰蠀蟻纬委伪蟼,
蟿畏蟼 蟺伪蟻伪魏渭萎蟼, 蟿畏蟼 未慰位喂蠈蟿畏蟿伪蟼, 蟿畏蟼 慰蟻纬萎蟼, 蟿畏蟼 伪谓伪蟻蠂委伪蟼 魏伪喂 蟿畏蟼 伪谓胃蟻蠅蟺慰渭慰蟻蠁喂魏萎蟼 蠁蟻委魏畏蟼, 蔚魏蔚委, 魏慰谓蟿维 伪蔚 蟽蟺委蟿喂伪 苇蟻畏渭伪, 位慰尉维, 渭蔚 蟽蟿蔚谓维 魏伪纬魏蔚位蠈蠁蟻伪蠂蟿伪 蟺伪蟻维胃蠀蟻伪 魏维蟿蠅 伪蟺慰 蠀蟺蠈蟽蟿蔚纬伪 渭喂蟽慰纬魏蟻蔚渭喂蟽渭苇谓伪 蟺慰蠀 渭慰喂维味慰蠀谓 渭蔚 蟽蠋渭伪蟿伪 谓蔚魏蟻蠋谓 味蠋蠅谓 萎 渭蔚 蟽蟺委蟿喂伪 渭伪纬喂蟽蟽蠋谓, 苇蟿慰喂渭伪 谓伪 慰蠀蟻位喂维尉慰蠀谓, 蟽蔚 伪蠀蟿萎 蟿畏谓 蠁蔚蠀纬伪位苇伪 魏伪喂 蠀蟺伪蟻魏蟿萎,
伪蟺蟿萎 魏伪喂 伪蟺蟻慰蟽未喂蠈蟻喂蟽蟿畏 蔚尉蠅蟺蟻伪纬渭伪蟿喂魏萎 蔚喂魏蠈谓伪 胃位委蠄畏蟼, 蠁伪委谓蔚蟿伪喂 蟽伪谓 维蠇位畏 蟿蔚蟻伪蟿蠋未畏蟼 渭慰蟻蠁萎 蟽伪谓 尾伪蟻喂维 蟽魏喂维,
畏 蠀位喂魏萎 蠀蟺蠈蟽蟿伪蟽畏 蟿畏蟼 位伪谓胃维谓慰蠀蟽伪蟼 魏伪蟿维蟽蟿伪蟽畏蟼 蟿慰蠀 螕魏蠈位蔚渭.
螒位位维, 慰 螕魏蠈位蔚渭 蔚委谓伪喂 蟺慰位蠉 蟺喂慰 蟽慰尾伪蟻蠈蟼, 尾伪胃喂维 蟻喂味蠅渭苇谓慰蟼 蟽蟿喂蟼 蟺蟻伪纬渭伪蟿喂魏苇蟼 喂蟽蟿慰蟻喂魏苇蟼 蟺蔚蟺慰喂胃萎蟽蔚喂蟼,
蟽蟿喂蟼 蠀蟺苇蟻-慰蟻胃慰位慰纬喂魏苇蟼 未蠀谓维渭蔚喂蟼 蟿慰蠀 魏伪位慰蠉 魏伪喂 蟿慰蠀 魏伪魏慰蠉, 伪蟺慰 蠈位蔚蟼 蟿喂蟼 蠁伪谓蟿伪蟽蟿喂魏苇蟼 位慰纬慰蟿蔚蠂谓喂魏苇蟼 蠀蟺维蟻尉蔚喂蟼 蟿蠅谓 蟿蔚位蔚蠀蟿伪委蠅谓 伪喂蠋谓蠅谓 蟿畏蟼 渭蠀蟽蟿伪纬蠅纬喂魏萎蟼 未蟻维蟽畏蟼.
螒谓伪纬谓蠅蟻委味蔚蟿伪喂 蔚蠉魏慰位伪 魏伪喂 伪蟺位维 畏 未蠉谓伪渭畏 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 魏伪喂 蟿慰 蟿伪位苇谓蟿慰 蟿慰蠀 蟺维胃慰蠀蟼 蟿慰蠀 纬喂伪 渭喂伪 蔚蠀蟻蠅蟺伪蠆魏萎 蟺蟻慰苇位蔚蠀蟽畏 蟿慰蠀 渭伪纬喂魏慰蠉 蟻蔚伪位喂蟽渭慰蠉 渭蔚 维蟺蔚喂蟻伪 蟽蟿慰喂蠂蔚委伪 蟻慰渭伪谓蟿喂魏慰蠉 纬慰蟿胃喂魏慰蠉 蟿蟻蠈渭慰蠀
魏伪喂 维蟻蠅渭伪 伪蟺慰 蟿伪 谓蔚魏蟻维 维蟽蟿蟻伪 魏伪喂 蟿伪 渭慰位蠀蟽渭苇谓伪 渭蔚 伪蟺苇胃伪谓蟿伪 蟺谓蔚蠉渭伪蟿伪 蟺慰蟿维渭喂伪 蟿畏蟼 蟽蔚位萎谓畏蟼,
魏维蟺慰喂慰蠀 渭蟺伪蟻蠈魏 蠄蠀蠂伪谓伪纬魏伪蟽蟿喂魏慰蠉 胃蟻蠉位慰蠀.
螚 渭伪纬蔚委伪 蟽蔚 伪蠀蟿蠈 蟿慰
尾喂尾位委慰 蟽伪谓 伪魏伪蟿苇蟻纬伪蟽蟿慰 未喂伪渭维谓蟿喂 蠀蟺蔚蟻尾伪委谓蔚喂 渭蔚 蟿畏 位维渭蠄畏 蟿畏蟼 魏维胃蔚 位慰纬慰蟿蔚蠂谓喂魏萎 蠂蔚喂蟻伪纬蠋纬畏蟽畏 魏伪喂 魏维胃蔚 渭慰蟻蠁萎 蟿苇蠂谓畏蟼.
螣 蟽蠀纬纬蟻伪蠁苇伪蟼 渭蔚 蟿畏谓 蟺苇谓伪 蟿慰蠀 魏伪喂 蟿畏谓 蠀蟺慰魏委谓畏蟽畏 蟽魏慰蟿蔚喂谓蠋谓 魏蠈蟽渭蠅谓 蟿畏蟼 蠄蠀蠂萎蟼 魏伪喂 蟿慰蠀 渭蠀伪位慰蠉 蟿慰蠀 蠂蟿蠀蟺维蔚喂 蟿喂蟼 魏蟻蠀渭渭苇谓蔚蟼 蟺蠈蟻蟿蔚蟼 蟽蟿慰 尾伪蟽委位蔚喂慰 蟿畏蟼 蟺慰位喂蟿喂蟽蟿喂魏萎蟼 渭谓萎渭畏蟼.
螘蠉魏慰位伪 蠂伪蟻伪魏蟿畏蟻委味蔚蟿伪喂 蔚纬蠂蔚喂蟻委未喂慰 位萎胃畏蟼, 渭谓萎渭畏蟼
魏伪喂 蠀蟺谓蠅蟿喂蟽渭慰蠉, 渭蔚 蔚蠉位慰纬蔚蟼 蟺蟻慰蟽蔚纬纬委蟽蔚喂蟼 蟽蔚 苇纬魏蠀蟻蔚蟼 伪谓伪位蠉蟽蔚喂蟼 魏伪喂 纬谓蠅渭伪蟿蔚蠉蟽蔚喂蟼 伪谓伪蠁慰蟻喂魏维 渭蔚 蟿畏谓 蔚蟺喂蟽蟿萎渭畏 蟿畏蟼 蠄蠀蠂慰位慰纬委伪蟼.
馃摎馃摎馃摎
螚 螠维蟽魏伪 蟿慰蠀 螝蠈魏魏喂谓慰蠀 螛伪谓维蟿慰蠀 蠁蟿喂伪纬渭苇谓畏 渭蔚 伪尾蠀蟽蟽伪位苇伪 蠁蟻委魏畏 伪蟺慰 蟿慰谓 螆谓蟿纬魏伪蟻 螁位位伪谓 螤蠈蔚
魏伪位蠉蟺蟿蔚喂 慰位蠈魏位畏蟻慰 蟿慰 纬魏苇蟿慰 蟿畏蟼 螤蟻维纬伪蟼,
蔚蟺蔚魏蟿蔚委谓蔚蟿伪喂 蟽蔚 蠈位慰 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟿慰蠀 螠苇蠆蟻喂谓魏,
纬蔚渭维蟿慰 渭蔚 伪魏蠈渭畏 蟺喂慰 魏伪蟿伪蟽蟿蟻慰蠁喂魏苇蟼 伪谓伪蟿伪蟻维尉蔚喂蟼 蟿蠅谓 蠂蔚喂蟻蠈蟿蔚蟻蠅谓 未喂魏蠋谓 蟿慰蠀 慰谓蔚委蟻蠅谓.
馃挴馃懟馃拃鈽狅笍馃懡馃懝馃懞馃挴
螝伪位萎 伪谓维纬谓蠅蟽畏
螤慰位位慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼.
螝维蟺慰喂慰蟼 蟻伪尾委谓慰蟼 渭蔚 蟿喂蟼 伪蟺慰魏蟻蠀蠁喂蟽蟿喂魏苇蟼 蠀蟺慰未蔚委尉蔚喂蟼
魏伪喂 蟿伪 魏蔚委渭蔚谓伪 蟿畏蟼 魏伪渭蟺维位伪 未畏渭喂慰蠉蟻纬畏蟽蔚 苇谓伪谓 蟿蔚蠂谓畏蟿蠈 维谓胃蟻蠅蟺慰, 蟿慰谓 蔚蟺慰谓慰渭伪味蠈渭蔚谓慰 螕魏蠈位蔚渭.
螣 螕魏蠈位蔚渭 蟿慰蟺慰胃蔚蟿蔚委蟿伪喂 蟽蟿慰 蠂蠋蟻慰 魏维蟺慰蠀 伪谓维渭蔚蟽伪 蟽蟿慰谓 渭蠉胃慰 魏伪喂 蟿畏谓 蟺伪蟻维未慰蟽畏 蟿畏蟼 蔚尾蟻伪蠆魏萎蟼 蟺委蟽蟿畏蟼,
渭蔚 蟿蠈蟽蔚蟼 未喂伪未蠈蟽蔚喂蟼 魏伪喂 蠀蟺蔚蟻尾慰位苇蟼, 蟺慰蠀 蟿蔚位喂魏维 魏伪蟿伪蟽蟿蟻苇蠁慰谓蟿伪喂 伪蟺慰 蟿慰 委未喂慰 蟿慰 伪未蠉谓伪蟿慰 蟿畏蟼 蠉蟺伪蟻尉畏蟼 蟿慰蠀蟼.
螣 螕魏蠈位蔚渭 萎蟿伪谓 蠀蟺畏蟻苇蟿畏蟼 蟿慰蠀 蟻伪尾委谓慰蠀 蟺慰蠀 蟿慰谓 苇蠁蟿喂伪尉蔚, 苇魏伪谓蔚 蟿喂蟼 蠂慰谓未蟻慰未慰蠀位蔚喂苇蟼 蟺慰蠀 蟿慰蠀 伪谓苇胃蔚蟿蔚
魏伪喂 蠂蟿蠀蟺慰蠉蟽蔚 蟿喂蟼 魏伪渭蟺维谓蔚蟼 蟿畏蟼 蟽蠀谓伪纬蠅纬萎蟼.
螤慰蟿苇 未蔚谓 魏伪蟿维蠁蔚蟻蔚 谓伪 渭蔚蟿伪蟻蟽喂蠅胃蔚委 蟽蔚 蟺蟻伪纬渭伪蟿喂魏蠈 维谓胃蟻蠅蟺慰. 螠蟺慰蟻慰蠉蟽蔚 渭慰谓维蠂伪 谓伪 伪蟺慰魏蟿萎蟽蔚喂 渭喂伪 慰谓蔚喂蟻喂魏维 胃伪渭蟺萎 渭喂蟽慰蟽蠀谓蔚委未畏蟿畏 蠄蔚蠀蟿慰味蠅萎 蟺慰蠀 蔚委蠂蔚 未蠀谓维渭蔚喂蟼 渭慰谓维蠂伪 蟿畏谓 渭苇蟻伪.
螚 蠉蟺伪蟻尉畏 蟿慰蠀 魏蟻蔚渭蠈蟿伪谓 伪蟺慰 苇谓伪 蟽畏渭蔚委蠅渭伪, 委蟽蠅蟼, 渭伪纬喂魏蠈, 蟺慰蠀 蟿慰蟺慰胃蔚蟿慰蠉蟽蔚 慰 蟻伪尾委谓慰蟼 蟺委蟽蠅 伪蟺慰 蟿伪 未蠈谓蟿喂伪 蟿慰蠀 蟺位维蟽渭伪蟿慰蟼, 蟿慰 蟽畏渭蔚委蠅渭伪 蟽蠀纬魏苇谓蟿蟻蠅谓蔚 蠈位蔚蟼 蟿喂蟼 蔚位蔚蠉胃蔚蟻蔚蟼 伪蟽蟿蟻喂魏苇蟼 未蠀谓维渭蔚喂蟼 蟿慰蠀 蟽蠉渭蟺伪谓蟿慰蟼 蟺伪谓蠅 蟿慰蠀, 未委谓慰谓蟿伪蟼 味蠅萎 蟽蟿慰 蟺位维蟽渭伪 蠂蠅蟻委蟼 蠄蠀蠂萎.
螌蟿伪谓 魏维蟺慰喂慰 尾蟻维未蠀 蟿慰 渭伪纬喂魏蠈 蠂伪蟻蟿委 尉蔚蠂维蟽蟿畏魏蔚 蟽蟿慰 蟽蟿蠈渭伪 蟿慰蠀 螕魏蠈位蔚渭, 苇蟺伪胃蔚 渭伪谓喂伪魏蠈 蟽慰魏 魏伪喂 蟿蟻苇蠂慰谓蟿伪蟼 蟽蟿慰 蟽魏慰蟿维未喂 魏伪蟿苇蟽蟿蟻蔚蠄蔚 蟿伪 蟺维谓蟿伪.
螣 蔚纬蠅喂蟽蟿萎蟼 未畏渭喂慰蠀蟻纬蠈蟼, 慰 伪渭伪蟻蟿蠅位蠈蟼 蟻伪尾委谓慰蟼,
苇蟽魏喂蟽蔚 蟿慰 渭伪纬喂魏蠈 蠂伪蟻蟿委 渭蔚 蟿畏谓 蠁蠈蟻渭慰蠀位伪 蟿畏蟼 伪谓伪尾委蠅蟽畏蟼 蟿慰蠀 伪蟻蠂苇纬慰谓慰蠀 螌谓蟿慰蠀蟼 纬喂伪 魏伪蟿伪蟽蟿蟻蔚蟺蟿喂魏萎 尾委伪
魏伪喂 苇蟿蟽喂, 蟿慰 蟺位维蟽渭伪 伪蟺慰 蟺畏位蠈 蟽蠅蟻喂维蟽蟿畏魏蔚 谓蔚魏蟻蠈.
螉蟽蠅蟼 蟿慰 蟺萎位喂谓慰 慰渭慰委蠅渭伪 渭蔚 蟿伪 伪谓胃蟻蠋蟺喂谓伪 渭苇位畏
谓伪 萎蟿伪谓 苇谓伪 蟺蟻慰渭萎谓蠀渭伪 蟿畏蟼 蔚蟺慰蠂萎蟼 蟿慰蠀.
韦慰 蟺位维蟽渭伪 蔚谓蟽伪蟻魏蠋谓蔚喂 魏伪喂 蟽蟿慰喂蠂蔚喂蠋谓蔚喂 蟿慰 渭苇蟽伪 魏伪喂 蟿慰 苇尉蠅 蟿慰蟺委慰 蟺慰蠀 魏喂谓慰蠉谓蟿伪喂 魏伪喂 蠀蟺维蟻蠂慰蠀谓 慰喂 维谓胃蟻蠅蟺慰喂 蟽蟿慰 纬魏苇蟿慰 蟿畏蟼 螤蟻维纬伪蟼.
螛苇位蔚喂 谓伪 魏伪蟿伪蟽蟿蟻苇蠄蔚喂 魏维胃蔚 蟽蠀位位慰纬喂魏萎 蟺谓蔚蠀渭伪蟿喂魏萎 未畏渭喂慰蠀蟻纬委伪 蟽蟿慰谓 蟽魏慰蟿蔚喂谓蠈 魏蠈蟽渭慰 蟺慰蠀 蟽喂纬慰尾蟻维味蔚喂 蟽蔚 渭喂伪 未畏位畏蟿畏蟻喂伪蟽渭苇谓畏 伪蟿渭蠈蟽蠁伪喂蟻伪, 畏 慰蟺慰委伪 蟺伪蟻伪渭慰蟻蠁蠋谓蔚喂 魏伪喂 蔚尉蔚纬蔚委蟻蔚喂 蟺慰喂魏喂位蠈渭慰蟻蠁慰蠀蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼 伪谓胃蟻蠋蟺蠅谓, 伪蟺慰魏伪位蠉蟺蟿慰谓蟿伪蟼 蠈位慰蠀蟼 蟿慰蠀蟼 未喂蟺位慰蠉蟼, 蟿慰蠀蟼 维位位慰蠀蟼, 蟿慰蠀蟼 魏蟻蠀蠁慰蠉蟼 蟿蟻慰渭伪魏蟿喂魏慰蠉蟼 蔚伪蠀蟿慰蠉蟼.
螣 维纬谓蠅蟽蟿慰蟼 蟺慰蠀 尾蟻喂魏慰位伪魏喂维味蔚喂 魏维胃蔚 蟿蟻喂维谓蟿伪 蟿蟻委伪 蠂蟻蠈谓喂伪 , 蟽伪谓 蟿慰蠀蟼 胃蟻蠉位慰蠀蟼 蟿畏蟼 伪喂蠋谓喂伪蟼 蔚蟺喂蟽蟿蟻慰蠁萎蟼
委蟽蠅蟼 谓伪 渭畏谓 蔚委谓伪喂 魏维蟿喂 维位位慰 伪蟺慰 蟿畏 渭慰蟻蠁萎 蟺慰蠀 蠁伪谓蟿维蟽蟿畏魏蔚 慰 渭蔚蟽伪喂蠅谓喂魏蠈蟼 蟻伪尾委谓慰蟼 蟺蟻慰蟿慰蠉 渭蟺慰蟻苇蟽蔚喂 谓伪 蟿畏谓 蠀位慰蟺慰喂萎蟽蔚喂.
韦蠋蟻伪, 蟿慰 慰谓蔚喂蟻喂魏蠈 蟺伪蟻维未慰尉慰 蟽蠀谓伪谓蟿维蟿伪喂 蔚蟻蠅蟿喂魏维 蟽蠂蔚未蠈谓 渭蔚 渭喂伪 蔚尉委蟽慰蠀 渭伪纬喂魏萎 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪.
韦蠋蟻伪, 蟽蔚 蟿伪魏蟿维 未喂伪蟽蟿萎渭伪蟿伪, 蠈蟿伪谓 蔚蟺喂魏蟻伪蟿慰蠉谓 慰喂 委未喂蔚蟼 伪蟽蟿蟻喂魏苇蟼 蟽蠀谓胃萎魏蔚蟼 魏维蟿蠅 伪蟺慰 蟿喂蟼 慰蟺慰委蔚蟼 未畏渭喂慰蠀蟻纬萎胃畏魏蔚,
慰 螕魏蠈位蔚渭, 尉伪谓伪纬蠀蟻委味蔚喂, 尾伪蟽伪谓喂蟽渭苇谓慰蟼 魏伪喂 萎蟺喂伪 伪喂蠋谓喂慰蟼 伪蟺慰 蟿畏谓 胃苇位畏蟽畏 蟿慰蠀 纬喂伪 蔚谓蟽维蟻魏蠅谓蟽畏.
螒谓维渭蔚蟽伪 蟽蟿慰 蔚未蠋 魏伪喂 蟿慰 蔚魏蔚委, 蔚渭蠁伪谓委味蔚蟿伪喂 魏伪喂 慰未畏纬蔚委 魏伪蟿维 魏维蟺慰喂慰 蟿蟻蠈蟺慰 蟽蟿畏谓 魏维胃伪蟻蟽畏 蔚魏蟿慰谓蠋谓慰谓蟿伪蟼 尾委伪 魏伪喂 蟿蟻蠈渭慰.
螠蟺伪委谓慰蠀渭蔚 蟽蔚 魏维蟿喂 蟺慰位蠀未喂维蟽蟿伪蟿慰 伪谓维渭蔚蟽伪 蟽蔚 蠂蠅蟻慰蠂蟻蠈谓慰蠀蟼 魏伪喂 魏蠈蟽渭慰蠀蟼 蟺慰蠀 蠀蟺维蟻蠂慰蠀谓 慰 苇谓伪蟼 渭苇蟽伪 蟽蟿慰谓 维位位慰谓.
危蔚 渭喂伪 尾伪胃喂维 蟺谓蔚蠀渭伪蟿喂魏蠈蟿畏蟿伪 蟺慰蠀 蟿蟻慰渭维味蔚喂 蟿慰蠀蟼 伪渭蠉畏蟿慰蠀蟼 蟽蟿慰谓 蟺蠈谓慰 蟿畏蟼 谓蠈畏蟽畏蟼, 蟽蔚 伪蠀蟿慰蠉蟼 蟺慰蠀 未蔚谓 尉苇蟻慰蠀谓 谓伪 未喂蔚喂蟽未蠉慰蠀谓 蟽蟿慰 魏蔚谓蠈 蟿慰蠀 蠀蟺慰蟽蠀谓蔚委未畏蟿慰蠀.
螣 维纬谓蠅蟽蟿慰蟼 蟺蟻蠈纬慰谓慰蟼 蟿畏蟼 味蠅萎蟼 胃苇位蔚喂 谓伪 蔚纬魏蠀渭慰谓慰蠉谓 慰喂 蠄蠀蠂苇蟼, 渭萎蟺蠅蟼, 蟽蔚 魏维蟺慰喂伪 纬苇谓谓畏蟽畏, 渭喂伪 魏伪蟿伪位畏蟺蟿喂魏萎 蠄蠀蠂萎, 味蠅慰未蠈蠂慰蟼 魏伪喂 胃伪谓伪蟿畏蠁蠈蟻伪, 伪蠁萎蟽蔚喂 蟿慰 伪谓胃蟻蠋蟺喂谓慰 魏慰蟻渭委 魏伪喂 渭蔚蟿伪尾喂尾伪蟽蟿蔚委 蟽蟿慰 伪喂谓喂纬渭伪蟿喂魏蠈 慰谓, 蟽蟿慰 尉苇谓慰 蟺位维蟽渭伪, 蟺慰蠀 胃伪 伪蟺慰蟿蔚位蔚委 魏慰渭渭维蟿喂 蟺位苇慰谓 伪蟺慰 蟿畏谓 伪谓胃蟻蠋蟺喂谓畏 蠉蟺伪蟻尉畏, 伪蟺慰 蟿畏谓 慰蟺慰委伪 尉苇魏位蔚蠄蔚 伪谓维蟽蔚蟼 蠄蠀蠂萎蟼 魏伪喂 蔚谓蟽维蟻魏蠅蟽畏蟼.
螣 螕魏蠈位蔚渭 蔚委谓伪喂 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟿慰蠀 纬魏苇蟿慰 蟿畏蟼 螤蟻维纬伪蟼.
韦慰 蟽魏畏谓喂魏蠈 蔚委谓伪喂 蟽魏慰蟿蔚喂谓蠈, 渭蠀蟽蟿喂魏喂蟽蟿喂魏蠈 魏伪喂 蟺伪蟻伪渭慰蟻蠁蠅蟿喂魏蠈.
螚 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 魏伪喂 蟿慰 蠈谓蔚喂蟻慰, 畏 伪谓维渭谓畏蟽畏 魏伪喂 畏 慰蠀蟽委伪 蟿慰蠀 蟺伪蟻蠈谓蟿慰蟼 蔚喂蟽尾维位位慰蠀谓 蟿慰 苇谓伪 渭苇蟽伪 蟽蟿慰 维位位慰 魏伪喂 魏维蟺慰蠀 蟽蟿慰 尾维胃慰蟼 蟿慰蠀 渭委蟽慰蠀蟼, 蟿畏蟼 蟿蔚蟻伪蟿慰蠀蟻纬委伪蟼,
蟿畏蟼 蟺伪蟻伪魏渭萎蟼, 蟿畏蟼 未慰位喂蠈蟿畏蟿伪蟼, 蟿畏蟼 慰蟻纬萎蟼, 蟿畏蟼 伪谓伪蟻蠂委伪蟼 魏伪喂 蟿畏蟼 伪谓胃蟻蠅蟺慰渭慰蟻蠁喂魏萎蟼 蠁蟻委魏畏蟼, 蔚魏蔚委, 魏慰谓蟿维 伪蔚 蟽蟺委蟿喂伪 苇蟻畏渭伪, 位慰尉维, 渭蔚 蟽蟿蔚谓维 魏伪纬魏蔚位蠈蠁蟻伪蠂蟿伪 蟺伪蟻维胃蠀蟻伪 魏维蟿蠅 伪蟺慰 蠀蟺蠈蟽蟿蔚纬伪 渭喂蟽慰纬魏蟻蔚渭喂蟽渭苇谓伪 蟺慰蠀 渭慰喂维味慰蠀谓 渭蔚 蟽蠋渭伪蟿伪 谓蔚魏蟻蠋谓 味蠋蠅谓 萎 渭蔚 蟽蟺委蟿喂伪 渭伪纬喂蟽蟽蠋谓, 苇蟿慰喂渭伪 谓伪 慰蠀蟻位喂维尉慰蠀谓, 蟽蔚 伪蠀蟿萎 蟿畏谓 蠁蔚蠀纬伪位苇伪 魏伪喂 蠀蟺伪蟻魏蟿萎,
伪蟺蟿萎 魏伪喂 伪蟺蟻慰蟽未喂蠈蟻喂蟽蟿畏 蔚尉蠅蟺蟻伪纬渭伪蟿喂魏萎 蔚喂魏蠈谓伪 胃位委蠄畏蟼, 蠁伪委谓蔚蟿伪喂 蟽伪谓 维蠇位畏 蟿蔚蟻伪蟿蠋未畏蟼 渭慰蟻蠁萎 蟽伪谓 尾伪蟻喂维 蟽魏喂维,
畏 蠀位喂魏萎 蠀蟺蠈蟽蟿伪蟽畏 蟿畏蟼 位伪谓胃维谓慰蠀蟽伪蟼 魏伪蟿维蟽蟿伪蟽畏蟼 蟿慰蠀 螕魏蠈位蔚渭.
螒位位维, 慰 螕魏蠈位蔚渭 蔚委谓伪喂 蟺慰位蠉 蟺喂慰 蟽慰尾伪蟻蠈蟼, 尾伪胃喂维 蟻喂味蠅渭苇谓慰蟼 蟽蟿喂蟼 蟺蟻伪纬渭伪蟿喂魏苇蟼 喂蟽蟿慰蟻喂魏苇蟼 蟺蔚蟺慰喂胃萎蟽蔚喂蟼,
蟽蟿喂蟼 蠀蟺苇蟻-慰蟻胃慰位慰纬喂魏苇蟼 未蠀谓维渭蔚喂蟼 蟿慰蠀 魏伪位慰蠉 魏伪喂 蟿慰蠀 魏伪魏慰蠉, 伪蟺慰 蠈位蔚蟼 蟿喂蟼 蠁伪谓蟿伪蟽蟿喂魏苇蟼 位慰纬慰蟿蔚蠂谓喂魏苇蟼 蠀蟺维蟻尉蔚喂蟼 蟿蠅谓 蟿蔚位蔚蠀蟿伪委蠅谓 伪喂蠋谓蠅谓 蟿畏蟼 渭蠀蟽蟿伪纬蠅纬喂魏萎蟼 未蟻维蟽畏蟼.
螒谓伪纬谓蠅蟻委味蔚蟿伪喂 蔚蠉魏慰位伪 魏伪喂 伪蟺位维 畏 未蠉谓伪渭畏 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 魏伪喂 蟿慰 蟿伪位苇谓蟿慰 蟿慰蠀 蟺维胃慰蠀蟼 蟿慰蠀 纬喂伪 渭喂伪 蔚蠀蟻蠅蟺伪蠆魏萎 蟺蟻慰苇位蔚蠀蟽畏 蟿慰蠀 渭伪纬喂魏慰蠉 蟻蔚伪位喂蟽渭慰蠉 渭蔚 维蟺蔚喂蟻伪 蟽蟿慰喂蠂蔚委伪 蟻慰渭伪谓蟿喂魏慰蠉 纬慰蟿胃喂魏慰蠉 蟿蟻蠈渭慰蠀
魏伪喂 维蟻蠅渭伪 伪蟺慰 蟿伪 谓蔚魏蟻维 维蟽蟿蟻伪 魏伪喂 蟿伪 渭慰位蠀蟽渭苇谓伪 渭蔚 伪蟺苇胃伪谓蟿伪 蟺谓蔚蠉渭伪蟿伪 蟺慰蟿维渭喂伪 蟿畏蟼 蟽蔚位萎谓畏蟼,
魏维蟺慰喂慰蠀 渭蟺伪蟻蠈魏 蠄蠀蠂伪谓伪纬魏伪蟽蟿喂魏慰蠉 胃蟻蠉位慰蠀.
螚 渭伪纬蔚委伪 蟽蔚 伪蠀蟿蠈 蟿慰
尾喂尾位委慰 蟽伪谓 伪魏伪蟿苇蟻纬伪蟽蟿慰 未喂伪渭维谓蟿喂 蠀蟺蔚蟻尾伪委谓蔚喂 渭蔚 蟿畏 位维渭蠄畏 蟿畏蟼 魏维胃蔚 位慰纬慰蟿蔚蠂谓喂魏萎 蠂蔚喂蟻伪纬蠋纬畏蟽畏 魏伪喂 魏维胃蔚 渭慰蟻蠁萎 蟿苇蠂谓畏蟼.
螣 蟽蠀纬纬蟻伪蠁苇伪蟼 渭蔚 蟿畏谓 蟺苇谓伪 蟿慰蠀 魏伪喂 蟿畏谓 蠀蟺慰魏委谓畏蟽畏 蟽魏慰蟿蔚喂谓蠋谓 魏蠈蟽渭蠅谓 蟿畏蟼 蠄蠀蠂萎蟼 魏伪喂 蟿慰蠀 渭蠀伪位慰蠉 蟿慰蠀 蠂蟿蠀蟺维蔚喂 蟿喂蟼 魏蟻蠀渭渭苇谓蔚蟼 蟺蠈蟻蟿蔚蟼 蟽蟿慰 尾伪蟽委位蔚喂慰 蟿畏蟼 蟺慰位喂蟿喂蟽蟿喂魏萎蟼 渭谓萎渭畏蟼.
螘蠉魏慰位伪 蠂伪蟻伪魏蟿畏蟻委味蔚蟿伪喂 蔚纬蠂蔚喂蟻委未喂慰 位萎胃畏蟼, 渭谓萎渭畏蟼
魏伪喂 蠀蟺谓蠅蟿喂蟽渭慰蠉, 渭蔚 蔚蠉位慰纬蔚蟼 蟺蟻慰蟽蔚纬纬委蟽蔚喂蟼 蟽蔚 苇纬魏蠀蟻蔚蟼 伪谓伪位蠉蟽蔚喂蟼 魏伪喂 纬谓蠅渭伪蟿蔚蠉蟽蔚喂蟼 伪谓伪蠁慰蟻喂魏维 渭蔚 蟿畏谓 蔚蟺喂蟽蟿萎渭畏 蟿畏蟼 蠄蠀蠂慰位慰纬委伪蟼.
馃摎馃摎馃摎
螚 螠维蟽魏伪 蟿慰蠀 螝蠈魏魏喂谓慰蠀 螛伪谓维蟿慰蠀 蠁蟿喂伪纬渭苇谓畏 渭蔚 伪尾蠀蟽蟽伪位苇伪 蠁蟻委魏畏 伪蟺慰 蟿慰谓 螆谓蟿纬魏伪蟻 螁位位伪谓 螤蠈蔚
魏伪位蠉蟺蟿蔚喂 慰位蠈魏位畏蟻慰 蟿慰 纬魏苇蟿慰 蟿畏蟼 螤蟻维纬伪蟼,
蔚蟺蔚魏蟿蔚委谓蔚蟿伪喂 蟽蔚 蠈位慰 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟿慰蠀 螠苇蠆蟻喂谓魏,
纬蔚渭维蟿慰 渭蔚 伪魏蠈渭畏 蟺喂慰 魏伪蟿伪蟽蟿蟻慰蠁喂魏苇蟼 伪谓伪蟿伪蟻维尉蔚喂蟼 蟿蠅谓 蠂蔚喂蟻蠈蟿蔚蟻蠅谓 未喂魏蠋谓 蟿慰蠀 慰谓蔚委蟻蠅谓.
馃挴馃懟馃拃鈽狅笍馃懡馃懝馃懞馃挴
螝伪位萎 伪谓维纬谓蠅蟽畏
螤慰位位慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼.
November 17, 2017
韦委 伪蟻喂蟽蟿慰蠉蟻纬畏渭伪 胃蔚苇 渭慰蠀! 螠蔚 蟿委 魏慰渭蠄蠈 蟿蟻蠈蟺慰 蟿慰 蠈谓蔚喂蟻慰 伪纬纬委味蔚喂 蟿畏谓 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪! 螝伪喂 畏 螤蟻维纬伪, 蟺蔚蟻喂纬蟻维蠁蔚蟿伪喂 蟽伪谓 渭喂伪 蟺蠈位畏 纬蔚渭维蟿畏 渭蠀蟽蟿萎蟻喂慰 魏伪喂 渭伪纬蔚委伪, 蔚喂未喂魏维 畏 蔚尾蟻伪蠆魏萎 蟽蠀谓慰喂魏委伪, 蔚魏蔚委 蟺慰蠀 味蔚喂 慰 螒胃伪谓维蟽喂慰蟼 螤苇蟻谓伪胃, 慰 魏伪位位喂蟿苇蠂谓畏蟼 (蠂伪蟻维魏蟿畏蟼 位委胃蠅谓) 蟺慰蠀 伪蟺慰蟿蔚位蔚委 蟿慰 魏蔚谓蟿蟻喂魏蠈 萎蟻蠅伪. 螡慰渭委味蠅 蟺蠅蟼 蟿慰 螕魏蠈位蔚渭 蔚委谓伪喂 畏 蔚蟺喂蟿慰渭萎 蟿慰蠀 蠁喂位慰蟽慰蠁喂魏慰蠉 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼. 螝喂 伪谓 伪蠀蟿蠈 伪魏慰蠉纬蔚蟿伪喂 蠀蟺蔚蟻尾慰位喂魏蠈, 苇蟽蟿蠅 蔚委谓伪喂 苇谓伪 伪蟺蠈 蟿伪 蟺喂慰 伪蟻喂蟽蟿慰蟿蔚蠂谓喂魏维 纬蟻伪渭渭苇谓伪 魏伪喂 尾伪胃喂维 蠁喂位慰蟽慰蠁畏渭苇谓伪 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿伪 蟺慰蠀 苇蠂蠅 未喂伪尾维蟽蔚喂.
危蟿畏谓 伪蟻蠂萎 谓蠈渭喂味伪 蟺蠅蟼 胃伪 蔚委谓伪喂 渭喂伪 喂蟽蟿慰蟻委伪 纬喂伪 苇谓伪 渭伪纬喂魏蠈 蟺位维蟽渭伪 渭蔚 未伪喂渭慰谓喂魏苇蟼 喂未喂蠈蟿畏蟿蔚蟼, 苇谓伪 蟺位维蟽渭伪 蟺慰蠀 蟺蟻慰苇蟻蠂蔚蟿伪喂 伪蟺蠈 蟿畏谓 蔚尾蟻伪蠆魏萎 渭蠀胃慰位慰纬委伪, 蟿慰 慰蟺慰委慰 蟿蟻慰渭慰魏蟻伪蟿蔚委 蟿慰蠀蟼 魏伪蟿慰委魏慰蠀蟼 渭喂伪蟼 纬蔚喂蟿慰谓喂维蟼. 螆魏伪谓伪 位维胃慰蟼. 螖蔚谓 苇蠂蔚喂 魏伪渭委伪 蟽蠂苇蟽畏 渭蔚 伪蠀蟿蠈. 螣 魏蔚谓蟿蟻喂魏蠈蟼 萎蟻蠅伪蟼 苇蠂蔚喂 蟿畏谓 喂魏伪谓蠈蟿畏蟿伪, 苇谓伪 蠂维蟻喂蟽渭伪 谓伪 渭蟺慰蟻蔚委 谓伪 尾位苇蟺蔚喂 蟺苇蟻伪 伪蟺蠈 蟿伪 蟺苇蟺位伪 蟿畏蟼 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪蟼. 螌位伪 尉蔚魏委谓畏蟽伪谓 蠈蟿伪谓 苇谓伪蟼 纬喂伪蟿蟻蠈蟼 蟿慰谓 蠀蟺谓蠋蟿喂蟽蔚 纬喂伪 谓伪 蟿慰谓 尾慰畏胃萎蟽蔚喂 谓伪 尉蔚蟺蔚蟻维蟽蔚喂 渭喂伪 蟿蟻伪蠀渭伪蟿喂魏萎 蔚渭蟺蔚喂蟻委伪, 蟺慰蠀 蟿慰蠀 蔚委蠂蔚 蟺蟻慰魏伪位苇蟽蔚喂 谓蔚蠀蟻喂魏蠈 魏位慰谓喂蟽渭蠈. 螒蠀蟿蠈 蔚委蠂蔚 蠅蟼 伪蟺慰蟿苇位蔚蟽渭伪 谓伪 蟽尾畏蟽蟿蔚委 苇谓伪 魏慰渭渭维蟿喂 伪蟺蠈 蟿慰 蟺伪蟻蔚位胃蠈谓 蟿慰蠀 魏伪喂 谓伪 尉蔚魏喂谓萎蟽蔚喂 谓伪 尾喂蠋谓蔚喂 蟺蟻蠅蟿蠈纬谓蠅蟻蔚蟼 蟺谓蔚蠀渭伪蟿喂魏苇蟼 蔚渭蟺蔚喂蟻委蔚蟼. 螚 伪谓蟿委位畏蠄萎 蟿慰蠀 纬喂伪 蟿慰谓 魏蠈蟽渭慰, 未蔚谓 蔚委谓伪喂 蟺位苇慰谓 伪谓胃蟻蠋蟺喂谓畏. 螆蠂蔚喂 纬委谓蔚喂 苇谓伪蟼 蠁慰蟻苇伪蟼 蟿慰蠀 胃蔚委慰蠀, 蔚谓伪蟼 蠁蠅蟿喂蟽渭苇谓慰蟼, 苇谓伪蟼 蟺蟻慰蠁萎蟿畏蟼.
危蠉渭蠁蠅谓伪 渭蔚 蟿畏谓 魏慰蟽渭慰胃蔚蠅蟻委伪 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 (尾位苇蟺蔚 蟽蔚位. 313 蟿畏蟼 蔚位位畏谓喂魏萎蟼 苇魏未慰蟽畏蟼) :
"螣 维谓胃蟻蠅蟺慰蟼 蔚委谓伪喂 蟽伪谓 纬蠀维位喂谓慰蟼 蟽蠅位萎谓伪蟼 蟺慰蠀 渭苇蟽伪 蟿慰蠀 魏蠀位慰蠉谓 蟺慰位蠉蠂蟻蠅渭蔚蟼 渭蟺伪位委蟿蟽蔚蟼. 危蟿慰蠀蟼 蟺喂慰 蟺慰位位慰蠉蟼 蟺蔚蟻谓维 渭蠈谓慰 渭委伪 蟽' 慰位蠈魏位畏蟻畏 蟿畏 味蠅萎 蟿慰蠀蟼. 螘委谓伪喂 畏 渭蟺伪位委蟿蟽伪 魏蠈魏魏喂谓畏; 螞苇纬蔚蟿伪喂 "魏伪魏蠈蟼" 慰 维谓胃蟻蠅蟺慰蟼. 螘委谓伪喂 魏委蟿蟻喂谓畏; 螘委谓伪喂 "魏伪位蠈蟼". 螒谓 蟺蔚蟻维蟽慰蠀谓 未蠉慰, 畏 渭委伪 蟺委蟽蠅 伪蟺蠈 蟿畏谓 维位位畏, 渭喂伪 魏蠈魏魏喂谓畏 魏伪喂 渭喂伪 渭蟺位蔚; 韦蠈蟿蔚 苇蠂慰蠀渭蔚 苇谓伪谓 "维蟽蟿伪蟿慰" 蠂伪蟻伪魏蟿萎蟻伪. 螒位位维 蔚渭蔚委蟼, 慰喂 "未伪纬魏蠅渭苇谓慰喂 伪蟺蠈 蟿慰 蠁委未喂" 蟺蔚蟻谓维渭蔚 蟽蠀谓萎胃蠅蟼 蟽蟿畏 味蠅萎 渭伪蟼 蠈,蟿喂 蟺蔚蟻谓维 慰位蠈魏位畏蟻畏 畏 蟻维蟿蟽伪 渭苇蟽伪 蟽' 苇谓伪谓 伪喂蠋谓伪. 螣喂 蠂蟻蠅渭伪蟿喂蟽蟿苇蟼 渭蟺伪位委蟿蟽蔚蟼 魏蠀位慰蠉谓 渭苇蟽伪 蟽蟿慰 纬蠀维位喂谓慰 蟽蠅位萎谓伪 畏 渭委伪 渭蔚蟿维 蟿畏谓 维位位畏 魏喂 蠈蟿伪谓 蟿蔚位蔚喂蠋蟽慰蠀谓, 蟿蠈蟿蔚 纬喂谓蠈渭伪蟽蟿蔚 蟺蟻慰蠁萎蟿蔚蟼. 螕喂谓蠈渭伪蟽蟿蔚 慰 魏伪胃蟻苇蠁蟿畏蟼 蟿慰蠀 螛蔚慰蠉. "
螆蟿蟽喂 畏 魏伪胃畏渭蔚蟻喂谓萎 味蠅萎 渭喂伪 蠁蟿蠅蠂喂魏萎蟼 蟽蠀谓慰喂魏委伪蟼, 渭蔚 蟿喂蟼 渭喂魏蟻苇蟼 魏伪喂 渭蔚纬维位蔚蟼 蠂伪蟻苇蟼, 位蠉蟺蔚蟼 魏伪喂 伪纬蠅谓委蔚蟼 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 蟺慰蠀 蟿畏谓 魏伪蟿慰喂魏慰蠉谓, 渭苇蟽伪 伪蟺蠈 蟿伪 渭维蟿喂伪 蟿慰蠀 渭伪蟽蟿蟻蠈 - 螤苇蟻谓伪胃, 伪蟺慰魏蟿维 渭蔚蟿伪蠁蠀蟽喂魏苇蟼 未喂伪蟽蟿维蟽蔚喂蟼, 纬委谓蔚蟿伪喂 苇谓伪 蠈谓蔚喂蟻慰, 维位位慰蟿蔚 蠈渭慰蟻蠁慰 蠈谓蔚喂蟻慰, 维位位慰蟿蔚 蔚蠁喂维位蟿畏蟼.
螘尉伪喂蟻蔚蟿喂魏蠈蟼 蟽蠀纬纬蟻伪蠁苇伪蟼 慰 螕魏慰蠉蟽蟿伪尾 螠苇喂蟻喂谓纬魏. 螠慰谓伪未喂魏蠈蟼. 螛伪 萎胃蔚位伪 谓伪 未喂伪尾维蟽蠅 魏伪喂 维位位伪 苇蟻纬伪 蟿慰蠀.
危蟿畏谓 伪蟻蠂萎 谓蠈渭喂味伪 蟺蠅蟼 胃伪 蔚委谓伪喂 渭喂伪 喂蟽蟿慰蟻委伪 纬喂伪 苇谓伪 渭伪纬喂魏蠈 蟺位维蟽渭伪 渭蔚 未伪喂渭慰谓喂魏苇蟼 喂未喂蠈蟿畏蟿蔚蟼, 苇谓伪 蟺位维蟽渭伪 蟺慰蠀 蟺蟻慰苇蟻蠂蔚蟿伪喂 伪蟺蠈 蟿畏谓 蔚尾蟻伪蠆魏萎 渭蠀胃慰位慰纬委伪, 蟿慰 慰蟺慰委慰 蟿蟻慰渭慰魏蟻伪蟿蔚委 蟿慰蠀蟼 魏伪蟿慰委魏慰蠀蟼 渭喂伪蟼 纬蔚喂蟿慰谓喂维蟼. 螆魏伪谓伪 位维胃慰蟼. 螖蔚谓 苇蠂蔚喂 魏伪渭委伪 蟽蠂苇蟽畏 渭蔚 伪蠀蟿蠈. 螣 魏蔚谓蟿蟻喂魏蠈蟼 萎蟻蠅伪蟼 苇蠂蔚喂 蟿畏谓 喂魏伪谓蠈蟿畏蟿伪, 苇谓伪 蠂维蟻喂蟽渭伪 谓伪 渭蟺慰蟻蔚委 谓伪 尾位苇蟺蔚喂 蟺苇蟻伪 伪蟺蠈 蟿伪 蟺苇蟺位伪 蟿畏蟼 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪蟼. 螌位伪 尉蔚魏委谓畏蟽伪谓 蠈蟿伪谓 苇谓伪蟼 纬喂伪蟿蟻蠈蟼 蟿慰谓 蠀蟺谓蠋蟿喂蟽蔚 纬喂伪 谓伪 蟿慰谓 尾慰畏胃萎蟽蔚喂 谓伪 尉蔚蟺蔚蟻维蟽蔚喂 渭喂伪 蟿蟻伪蠀渭伪蟿喂魏萎 蔚渭蟺蔚喂蟻委伪, 蟺慰蠀 蟿慰蠀 蔚委蠂蔚 蟺蟻慰魏伪位苇蟽蔚喂 谓蔚蠀蟻喂魏蠈 魏位慰谓喂蟽渭蠈. 螒蠀蟿蠈 蔚委蠂蔚 蠅蟼 伪蟺慰蟿苇位蔚蟽渭伪 谓伪 蟽尾畏蟽蟿蔚委 苇谓伪 魏慰渭渭维蟿喂 伪蟺蠈 蟿慰 蟺伪蟻蔚位胃蠈谓 蟿慰蠀 魏伪喂 谓伪 尉蔚魏喂谓萎蟽蔚喂 谓伪 尾喂蠋谓蔚喂 蟺蟻蠅蟿蠈纬谓蠅蟻蔚蟼 蟺谓蔚蠀渭伪蟿喂魏苇蟼 蔚渭蟺蔚喂蟻委蔚蟼. 螚 伪谓蟿委位畏蠄萎 蟿慰蠀 纬喂伪 蟿慰谓 魏蠈蟽渭慰, 未蔚谓 蔚委谓伪喂 蟺位苇慰谓 伪谓胃蟻蠋蟺喂谓畏. 螆蠂蔚喂 纬委谓蔚喂 苇谓伪蟼 蠁慰蟻苇伪蟼 蟿慰蠀 胃蔚委慰蠀, 蔚谓伪蟼 蠁蠅蟿喂蟽渭苇谓慰蟼, 苇谓伪蟼 蟺蟻慰蠁萎蟿畏蟼.
危蠉渭蠁蠅谓伪 渭蔚 蟿畏谓 魏慰蟽渭慰胃蔚蠅蟻委伪 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 (尾位苇蟺蔚 蟽蔚位. 313 蟿畏蟼 蔚位位畏谓喂魏萎蟼 苇魏未慰蟽畏蟼) :
"螣 维谓胃蟻蠅蟺慰蟼 蔚委谓伪喂 蟽伪谓 纬蠀维位喂谓慰蟼 蟽蠅位萎谓伪蟼 蟺慰蠀 渭苇蟽伪 蟿慰蠀 魏蠀位慰蠉谓 蟺慰位蠉蠂蟻蠅渭蔚蟼 渭蟺伪位委蟿蟽蔚蟼. 危蟿慰蠀蟼 蟺喂慰 蟺慰位位慰蠉蟼 蟺蔚蟻谓维 渭蠈谓慰 渭委伪 蟽' 慰位蠈魏位畏蟻畏 蟿畏 味蠅萎 蟿慰蠀蟼. 螘委谓伪喂 畏 渭蟺伪位委蟿蟽伪 魏蠈魏魏喂谓畏; 螞苇纬蔚蟿伪喂 "魏伪魏蠈蟼" 慰 维谓胃蟻蠅蟺慰蟼. 螘委谓伪喂 魏委蟿蟻喂谓畏; 螘委谓伪喂 "魏伪位蠈蟼". 螒谓 蟺蔚蟻维蟽慰蠀谓 未蠉慰, 畏 渭委伪 蟺委蟽蠅 伪蟺蠈 蟿畏谓 维位位畏, 渭喂伪 魏蠈魏魏喂谓畏 魏伪喂 渭喂伪 渭蟺位蔚; 韦蠈蟿蔚 苇蠂慰蠀渭蔚 苇谓伪谓 "维蟽蟿伪蟿慰" 蠂伪蟻伪魏蟿萎蟻伪. 螒位位维 蔚渭蔚委蟼, 慰喂 "未伪纬魏蠅渭苇谓慰喂 伪蟺蠈 蟿慰 蠁委未喂" 蟺蔚蟻谓维渭蔚 蟽蠀谓萎胃蠅蟼 蟽蟿畏 味蠅萎 渭伪蟼 蠈,蟿喂 蟺蔚蟻谓维 慰位蠈魏位畏蟻畏 畏 蟻维蟿蟽伪 渭苇蟽伪 蟽' 苇谓伪谓 伪喂蠋谓伪. 螣喂 蠂蟻蠅渭伪蟿喂蟽蟿苇蟼 渭蟺伪位委蟿蟽蔚蟼 魏蠀位慰蠉谓 渭苇蟽伪 蟽蟿慰 纬蠀维位喂谓慰 蟽蠅位萎谓伪 畏 渭委伪 渭蔚蟿维 蟿畏谓 维位位畏 魏喂 蠈蟿伪谓 蟿蔚位蔚喂蠋蟽慰蠀谓, 蟿蠈蟿蔚 纬喂谓蠈渭伪蟽蟿蔚 蟺蟻慰蠁萎蟿蔚蟼. 螕喂谓蠈渭伪蟽蟿蔚 慰 魏伪胃蟻苇蠁蟿畏蟼 蟿慰蠀 螛蔚慰蠉. "
螆蟿蟽喂 畏 魏伪胃畏渭蔚蟻喂谓萎 味蠅萎 渭喂伪 蠁蟿蠅蠂喂魏萎蟼 蟽蠀谓慰喂魏委伪蟼, 渭蔚 蟿喂蟼 渭喂魏蟻苇蟼 魏伪喂 渭蔚纬维位蔚蟼 蠂伪蟻苇蟼, 位蠉蟺蔚蟼 魏伪喂 伪纬蠅谓委蔚蟼 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 蟺慰蠀 蟿畏谓 魏伪蟿慰喂魏慰蠉谓, 渭苇蟽伪 伪蟺蠈 蟿伪 渭维蟿喂伪 蟿慰蠀 渭伪蟽蟿蟻蠈 - 螤苇蟻谓伪胃, 伪蟺慰魏蟿维 渭蔚蟿伪蠁蠀蟽喂魏苇蟼 未喂伪蟽蟿维蟽蔚喂蟼, 纬委谓蔚蟿伪喂 苇谓伪 蠈谓蔚喂蟻慰, 维位位慰蟿蔚 蠈渭慰蟻蠁慰 蠈谓蔚喂蟻慰, 维位位慰蟿蔚 蔚蠁喂维位蟿畏蟼.
螘尉伪喂蟻蔚蟿喂魏蠈蟼 蟽蠀纬纬蟻伪蠁苇伪蟼 慰 螕魏慰蠉蟽蟿伪尾 螠苇喂蟻喂谓纬魏. 螠慰谓伪未喂魏蠈蟼. 螛伪 萎胃蔚位伪 谓伪 未喂伪尾维蟽蠅 魏伪喂 维位位伪 苇蟻纬伪 蟿慰蠀.
October 20, 2015
螞慰喂蟺蠈谓 伪蠀蟿蠈 萎蟿伪谓 苇谓伪 蟺伪蟻维尉蔚谓慰 尾喂尾位委慰... 螣 蟽蠀纬纬蟻伪蠁苇伪蟼 渭蟺位苇魏蔚喂 未蠀慰 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿蔚蟼 蔚魏 蟿蠅谓 慰蟺慰委蠅谓 畏 渭喂伪 蔚委谓伪喂 畏 慰谓蔚喂蟻喂魏萎!! 螠苇蟽伪 伪蟺蠈 渭喂伪 螕魏蠈胃喂魏 伪蟿渭蠈蟽蠁伪喂蟻伪 魏伪喂 蟽蟿畏蟻喂味蠈渭蔚谓慰蟼 蟽蔚 苇谓伪 蔚尾蟻伪蠆魏蠈 渭蠉胃慰 (伪蠀蟿蠈 蟿慰蠀 螕魏蠈位蔚渭) 慰 螠苇喂蟻喂谓魏 渭伪蟼 尾维味蔚喂 渭苇蟽伪 蟽蟿畏谓 蔚尾蟻伪蠆魏萎 蟽蠀谓慰喂魏委伪 蟿畏蟼 螤蟻维纬伪蟼 蠈蟺慰蠀 蠁伪喂谓慰渭蔚谓喂魏维 慰 尾伪蟽喂魏蠈蟼 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎蟼 蔚委谓伪喂 慰 螒胃伪谓维蟽喂慰蟼 螤蔚蟻谓维胃 苇谓伪蟼 蠂伪蟻维魏蟿畏蟼 蟺慰位蠉蟿喂渭蠅谓 位委胃蠅谓...
螛伪 蟽蠀谓伪谓蟿萎蟽慰蠀渭蔚 蟺蔚蟻委蔚蟻纬慰蠀蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼 蠈蟺蠅蟼 渭伪蟻纬喂慰谓蔚蟿委蟽蟿蔚蟼, 渭维纬慰蠀蟼, 纬喂伪蟿蟻慰蠉蟼, 蟺伪位伪喂慰蟺蠋位蔚蟼, 蟺蠈蟻谓蔚蟼 魏伪喂 伪位蠂畏渭喂蟽蟿苇蟼 蟽蔚 蟽魏慰蟿蔚喂谓伪 蟽慰魏维魏喂伪, 蠂伪渭伪喂蟿蠀蟺蔚委伪, 蟿伪尾苇蟻谓蔚蟼 魏伪喂 蟽蟿慰喂蠂蔚喂蠅渭苇谓伪 蟽蟺委蟿喂伪... 螣喂 蠂伪蟻伪魏蟿萎蟻蔚蟼 魏维胃蔚 维位位慰 蟺伪蟻维 蔚蟺委蟺蔚未慰喂 蔚委谓伪喂. 螛伪 苇位蔚纬伪 渭维位喂蟽蟿伪 蟺蠅蟼 魏维胃蔚 苇谓伪蟼 伪蟺蠈 伪蠀蟿慰蠉蟼 蔚委谓伪喂/苇蠂蔚喂 蟽蠂蔚未蠈谓 苇谓伪 蠄蠀蠂慰位慰纬喂魏蠈 蟺蟻慰蠁委位 纬喂伪 渭蔚位苇蟿畏!!
韦慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 尾喂尾位委慰 渭伪蟼 未委谓蔚喂 伪魏蠈渭伪 蟺慰位位苇蟼 蟺位畏蟻慰蠁慰蟻委蔚蟼 魏伪喂 蟺慰位喂蟿喂蟽蟿喂魏维 蟽蟿慰喂蠂蔚委伪 纬喂伪 蟿畏谓 蔚尾蟻伪喂魏萎 渭蠀胃慰位慰纬委伪. 巍伪尾委谓慰喂, 蟿伪蟻蠋, 魏伪渭蟺维位伪 魏伪喂 蟺维蔚喂 位苇纬慰谓蟿伪蟼...
4 伪蟽蟿蔚蟻维魏喂伪 渭蠈谓慰 魏伪喂 渭蠈谓慰 纬喂伪蟿委 慰 渭蔚蟿伪蠁蟻伪蟽蟿萎蟼 胃伪 苇蟺蔚蟻蟺蔚 谓伪 尉苇蟻蔚喂 蟺蠅蟼 未蔚谓 蔚委渭伪蟽蟿蔚 蠈位慰喂 蔚尉慰喂魏蔚喂蠅渭苇谓慰喂 渭蔚 蟿畏谓 蔚尾蟻伪蠆魏萎 渭蠀胃慰位慰纬委伪...
螛伪 蟽蠀谓伪谓蟿萎蟽慰蠀渭蔚 蟺蔚蟻委蔚蟻纬慰蠀蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼 蠈蟺蠅蟼 渭伪蟻纬喂慰谓蔚蟿委蟽蟿蔚蟼, 渭维纬慰蠀蟼, 纬喂伪蟿蟻慰蠉蟼, 蟺伪位伪喂慰蟺蠋位蔚蟼, 蟺蠈蟻谓蔚蟼 魏伪喂 伪位蠂畏渭喂蟽蟿苇蟼 蟽蔚 蟽魏慰蟿蔚喂谓伪 蟽慰魏维魏喂伪, 蠂伪渭伪喂蟿蠀蟺蔚委伪, 蟿伪尾苇蟻谓蔚蟼 魏伪喂 蟽蟿慰喂蠂蔚喂蠅渭苇谓伪 蟽蟺委蟿喂伪... 螣喂 蠂伪蟻伪魏蟿萎蟻蔚蟼 魏维胃蔚 维位位慰 蟺伪蟻维 蔚蟺委蟺蔚未慰喂 蔚委谓伪喂. 螛伪 苇位蔚纬伪 渭维位喂蟽蟿伪 蟺蠅蟼 魏维胃蔚 苇谓伪蟼 伪蟺蠈 伪蠀蟿慰蠉蟼 蔚委谓伪喂/苇蠂蔚喂 蟽蠂蔚未蠈谓 苇谓伪 蠄蠀蠂慰位慰纬喂魏蠈 蟺蟻慰蠁委位 纬喂伪 渭蔚位苇蟿畏!!
韦慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 尾喂尾位委慰 渭伪蟼 未委谓蔚喂 伪魏蠈渭伪 蟺慰位位苇蟼 蟺位畏蟻慰蠁慰蟻委蔚蟼 魏伪喂 蟺慰位喂蟿喂蟽蟿喂魏维 蟽蟿慰喂蠂蔚委伪 纬喂伪 蟿畏谓 蔚尾蟻伪喂魏萎 渭蠀胃慰位慰纬委伪. 巍伪尾委谓慰喂, 蟿伪蟻蠋, 魏伪渭蟺维位伪 魏伪喂 蟺维蔚喂 位苇纬慰谓蟿伪蟼...
4 伪蟽蟿蔚蟻维魏喂伪 渭蠈谓慰 魏伪喂 渭蠈谓慰 纬喂伪蟿委 慰 渭蔚蟿伪蠁蟻伪蟽蟿萎蟼 胃伪 苇蟺蔚蟻蟺蔚 谓伪 尉苇蟻蔚喂 蟺蠅蟼 未蔚谓 蔚委渭伪蟽蟿蔚 蠈位慰喂 蔚尉慰喂魏蔚喂蠅渭苇谓慰喂 渭蔚 蟿畏谓 蔚尾蟻伪蠆魏萎 渭蠀胃慰位慰纬委伪...
January 19, 2020
鈥淭here is nothing mysterious about it at all. It is only magic and sorcery.鈥�
If you still have me featured in your feeds, I assume it is not for my good looks or to know what is trending but rather to discover some obscure weird novels and hidden gems of the fantasy genre. This is one of those!
Before you start pondering whether or not this novel is worth your time, please read the Author鈥檚 bio on 欧宝娱乐 site. Golem, the book by Gustav Meyrink, also known as the Satan from Prague, encapsulates the mindset of the Czech bohemia, full of occultism, mysticism, and secret books and teachings (Kabbalah is the word). It is clear that Meyrink in many respects did not fit into his own century, and perhaps this is the reason why his books still can be appreciated by a contemporary reader.
Golem brings together the best of , and . It is atmospheric and original. I was struck by an unprecedented combination of the dark ambience, esoterism, mystery, Kabbalah, mysticism, and ambiguity enhanced by trances, hallucinations, hard to define and ever morphing, intangible reality. Golem is a literary equivalent of absinth and indeed it would be fitting to have a bottle ready when reading!
While this is an excellent book, it does require absolute devotion, mindfulness, and concentration (all of those are amply rewarded!) not only because of the writing style but mainly because of the content and many-layered messages. Certainly, it is not a book for commuters.
The setting is important. The story takes place in Prague (as a resident of the Czech Republic I try to familiarise myself with Czech prose, hence my interest in Meyrink). Meyrink called Prague 鈥渁 city with the secret heartbeat鈥� and it鈥檚 definitely something that he captured better than the coveted Laini Taylor in her reprise of the Romeo and Juliet.
Descriptions of the Jewish Quarter, which is the arena of most events, in themselves can sow a seed of anxiety in the reader: dark alleys, gloomy tenement houses that seem to observe passers-by, underground tunnels leading nowhere, a city that morphs and hoards secret places like squirrel would hoard hazelnuts. But the pages of the book are also populated by several strange, not exactly defined characters, including the protagonist himself.
Golem tells the story of Athanasius Pernath, an art conservator and jeweller artist, who leads an ordinary life, until he is visited by a mysterious man who commissions him to fix the initial on the Book of Ibbur. The meeting transforms our protagonist, and from then on he sets off on a difficult and unusual journey, full of obstacles, secrets and a sense of anxiety.
Read superficially, analysed only on the basis of what actually happens in the book, Golem does not make any sense. Some of the threads are cut off, not fully explained or remain largely unclear. The main protagonist is equally ambiguous. He is wandering between no one knows what, he finds various symbols, he is mixed up in some conspiracies, he is in love, but in whom exactly can be debated. We do not even find out why what had happened to him happened, as the retrospective is incomplete and whimsical.
Nonetheless, we can notice two main interwoven themes. The first of these is mundane: Intrigues, jealousy, romance hidden in a real mix of genres (a crime story, a bit of horror and esoteric, love and some family dramas). Everything evolves around the medical scams and murderous urges motivated by revenge (Charousek, you broke my heart!). The second is an existential journey of a self-discovery aimed at making oneself a whole that we are not by default. Already at the beginning one of the protagonists compares people from the Jewish ghetto to golems (mechanical beings who lack a human soul to be complete), this metaphor also applies to other characters we meet, with Athanasius himself at the lead. Only when the hero passes all trials (symbolised by tarot figures) and rejects what is temporal (symbolized by vulgar Rosina and passionate Angelina), he is able to discover the true Self.
The events are interspersed with deep symbolism, oneiric travels, reaching into one's past. Demons appear to offer a choice that will influence the main character鈥檚 mental destiny. There are autobiographical motifs depicting the senselessness of bureaucracy and its connections with the prison system. But most of all, Golem is a mystical textbook for occultists. A guide to enlightenment, a primer to self-development. What is the truth? Can anyone be turned into a passive puppet or to the contrary made free of the constraints? Does love strengthen or destroy? In Golem we are challenged with these and many more similar questions.
To sum up, although Golem is worth judging from the perspective of the time in which the book was written, it is still extraordinary, if not an outstanding novel. However, due to its heavy and intricate nature, many readers may be put off and not like it. A reader expecting a gripping golem-monster action can be disappointed when s/he realises that what is offered is the existential experience of traveling deep into our own self. Meyrink鈥檚 mystical tale deserves to be acknowledged by a modern reader as a pass to the world of magic. Magic still imprisoned and comprehended in a very traditional way. The title of classic fantasy is, in this case, the most adequate.
If you still have me featured in your feeds, I assume it is not for my good looks or to know what is trending but rather to discover some obscure weird novels and hidden gems of the fantasy genre. This is one of those!
Before you start pondering whether or not this novel is worth your time, please read the Author鈥檚 bio on 欧宝娱乐 site. Golem, the book by Gustav Meyrink, also known as the Satan from Prague, encapsulates the mindset of the Czech bohemia, full of occultism, mysticism, and secret books and teachings (Kabbalah is the word). It is clear that Meyrink in many respects did not fit into his own century, and perhaps this is the reason why his books still can be appreciated by a contemporary reader.
Golem brings together the best of , and . It is atmospheric and original. I was struck by an unprecedented combination of the dark ambience, esoterism, mystery, Kabbalah, mysticism, and ambiguity enhanced by trances, hallucinations, hard to define and ever morphing, intangible reality. Golem is a literary equivalent of absinth and indeed it would be fitting to have a bottle ready when reading!
While this is an excellent book, it does require absolute devotion, mindfulness, and concentration (all of those are amply rewarded!) not only because of the writing style but mainly because of the content and many-layered messages. Certainly, it is not a book for commuters.
The setting is important. The story takes place in Prague (as a resident of the Czech Republic I try to familiarise myself with Czech prose, hence my interest in Meyrink). Meyrink called Prague 鈥渁 city with the secret heartbeat鈥� and it鈥檚 definitely something that he captured better than the coveted Laini Taylor in her reprise of the Romeo and Juliet.
Descriptions of the Jewish Quarter, which is the arena of most events, in themselves can sow a seed of anxiety in the reader: dark alleys, gloomy tenement houses that seem to observe passers-by, underground tunnels leading nowhere, a city that morphs and hoards secret places like squirrel would hoard hazelnuts. But the pages of the book are also populated by several strange, not exactly defined characters, including the protagonist himself.
Golem tells the story of Athanasius Pernath, an art conservator and jeweller artist, who leads an ordinary life, until he is visited by a mysterious man who commissions him to fix the initial on the Book of Ibbur. The meeting transforms our protagonist, and from then on he sets off on a difficult and unusual journey, full of obstacles, secrets and a sense of anxiety.
Read superficially, analysed only on the basis of what actually happens in the book, Golem does not make any sense. Some of the threads are cut off, not fully explained or remain largely unclear. The main protagonist is equally ambiguous. He is wandering between no one knows what, he finds various symbols, he is mixed up in some conspiracies, he is in love, but in whom exactly can be debated. We do not even find out why what had happened to him happened, as the retrospective is incomplete and whimsical.
Nonetheless, we can notice two main interwoven themes. The first of these is mundane: Intrigues, jealousy, romance hidden in a real mix of genres (a crime story, a bit of horror and esoteric, love and some family dramas). Everything evolves around the medical scams and murderous urges motivated by revenge (Charousek, you broke my heart!). The second is an existential journey of a self-discovery aimed at making oneself a whole that we are not by default. Already at the beginning one of the protagonists compares people from the Jewish ghetto to golems (mechanical beings who lack a human soul to be complete), this metaphor also applies to other characters we meet, with Athanasius himself at the lead. Only when the hero passes all trials (symbolised by tarot figures) and rejects what is temporal (symbolized by vulgar Rosina and passionate Angelina), he is able to discover the true Self.
The events are interspersed with deep symbolism, oneiric travels, reaching into one's past. Demons appear to offer a choice that will influence the main character鈥檚 mental destiny. There are autobiographical motifs depicting the senselessness of bureaucracy and its connections with the prison system. But most of all, Golem is a mystical textbook for occultists. A guide to enlightenment, a primer to self-development. What is the truth? Can anyone be turned into a passive puppet or to the contrary made free of the constraints? Does love strengthen or destroy? In Golem we are challenged with these and many more similar questions.
To sum up, although Golem is worth judging from the perspective of the time in which the book was written, it is still extraordinary, if not an outstanding novel. However, due to its heavy and intricate nature, many readers may be put off and not like it. A reader expecting a gripping golem-monster action can be disappointed when s/he realises that what is offered is the existential experience of traveling deep into our own self. Meyrink鈥檚 mystical tale deserves to be acknowledged by a modern reader as a pass to the world of magic. Magic still imprisoned and comprehended in a very traditional way. The title of classic fantasy is, in this case, the most adequate.
Read
February 25, 2021"Golem" is not a novel that will let you enter it without a certain difficulty.
Any prose in which the dose of the unknown is higher than that of the familiar - imprints a resistance to reading. In any case, the whole story, linked on a bizarre, sincopated structure, which cultivates mystery and ambiguity - has, in the substratum, symmetries and correspondences related to esotericism, alchemy, Tarot and Kabbalah.
An unfamiliar reader with them, perceives their presence only through what they hide, through the feeling of anxiety. The legend of Golem is used by Meyrink to bring to light a profound truth of our psyche, namely that dimension wich Carl Jung calls " shadow" - and which refers to what we reject from ourselves, to what we do not want to acknowledge as part of our ordered being, in terms of consciousness.
The novel begins with a scene in wich a man no longer knows who he is. Athanasius Pernath is the confused man around whom entire novel will be built.
Beyond the fantastic dimension, you can't help but gradually distinguish a sensation that accompanies the discovery that each individual has a dark side, an evil and autonomus twin.
Who, then, is this " Me" ? - with this question begins a bizarre adventure of a consciousness who meets its double.
There are many dark areas of the book, which speak of an unnamed evil, raised from the tensions of a Ghetto, an evil that must take a form, in order to exorcise it, and that form is always a strange one, here - the Golem.
Any prose in which the dose of the unknown is higher than that of the familiar - imprints a resistance to reading. In any case, the whole story, linked on a bizarre, sincopated structure, which cultivates mystery and ambiguity - has, in the substratum, symmetries and correspondences related to esotericism, alchemy, Tarot and Kabbalah.
An unfamiliar reader with them, perceives their presence only through what they hide, through the feeling of anxiety. The legend of Golem is used by Meyrink to bring to light a profound truth of our psyche, namely that dimension wich Carl Jung calls " shadow" - and which refers to what we reject from ourselves, to what we do not want to acknowledge as part of our ordered being, in terms of consciousness.
The novel begins with a scene in wich a man no longer knows who he is. Athanasius Pernath is the confused man around whom entire novel will be built.
Beyond the fantastic dimension, you can't help but gradually distinguish a sensation that accompanies the discovery that each individual has a dark side, an evil and autonomus twin.
Who, then, is this " Me" ? - with this question begins a bizarre adventure of a consciousness who meets its double.
There are many dark areas of the book, which speak of an unnamed evil, raised from the tensions of a Ghetto, an evil that must take a form, in order to exorcise it, and that form is always a strange one, here - the Golem.
July 22, 2021
Schauergeschichten verm枚gen selten bei mir die beabsichtige Wirkung auszul枚sen, sprich Gef眉hle des Unheimlichen zu wecken. Daf眉r bin ich zu sehr der materiellen Wirklichkeit verhaftet, als das mich irgendwelche fiktiven Grusel- und Spukgestalten ernsthaft schrecken k枚nnten. Grusel oder ein latentes Unbehagen stellt sich erst ein, wo der Bereich des Unbewussten ber眉hrt wird, wie z.B. in unseren Tr盲umen. Jener Bereich, der unserer bewussten Kontrolle entzogen ist. Genau in diese Spiegelwelt der Wirklichkeit f眉hrt Der Golem von Gustav Meyrink. Hinein in das alte j眉dische Ghetto von Prag, mit seinen dunklen Gassen, voller sinisterer Gestalten und uralter Legenden. Der Handlung ist eine psychedelische Qualit盲t zu eigen, ein Schweben zwischen den Grenzen von Au脽en- und Innenwelt. Man wird davon in Bann geschlagen, ohne dass dazu plumpe Horroreffekte n枚tig w盲ren. Selbst der Golem, jenes k眉nstliche Gesch枚pf des Rabbi L枚w bleibt in der Geschichte stets nur eine Randfigur. Eher ein Mythos der sich in der Vorstellung der Menschen manifestiert, denn eine offensichtliche Erscheinung. Wie diese untergegangene Welt 鈥� gleich einer verschwommenen Halluzination 鈥� heraufbeschworen wird, hat mich im wahrsten Sinne des Wortes begeistern k枚nnen.
March 17, 2017
F膬r膬 doar 艧i poate unul dintre cele mai frapante paragrafe citite vreodat膬: "Wassertrum a silit-o pe mama s膬 fie a lui, cine 艧tie prin ce mijloace dr膬ce艧ti - ca to牛i cei de teapa asta, dac膬 nu altcumva, 卯ntr-un fel 艧i mai cumplit. Pe urm膬... pe urm膬 a v芒ndut-o la un bordel... nu-i lucru greu, dac膬 tovar膬艧ii t膬i de afaceri sunt jurisconsul牛ii poli牛iei. DAR N-A F膫CUT-O PENTRU C膫 ERA S膫TUL DE EA, VAI, NU! 脦I 艦TIU INIMA, I-O 艦TIU P脗N膫 脦N CELE MAI FERITE ASCUNZI艦URI: A V脗NDUT-O 脦N ZIUA C脗ND 艦I-A DAT SEAMA C膫 O IUBE艦TE!"
Printr-o tehnic膬 narativ膬 al dracului de ingenioas膬, cititorul este introdus 卯n ghetto-ul (evreiesc) din Praga, nereu艧ind s膬 fac膬 distincia 卯ntre realitatea concret膬 a romanului sau visul propriu-zis al personajului-narator, p膬rta艧 al ac牛iunii...
Nu prea am avut contacte cu literatura de factur膬 iudaic膬 -艧i, la drept vorbind, Gustav Meyrink nu pune 卯n centrul romanului s膬u religia, ci mai degrab膬 mistica, analog膬 magiei- 卯ns膬 modul 卯n care sunt 卯nf膬牛i艧ate "lucr膬rile" din ghetto-ul evreiesc e de-a dreptul frapant.
脦n ceea ce prive艧te personajele, ele sunt mai degrab膬 construite pe principii romantice: "excep牛ionale", extreme, p膬tima艧e, maniace.
脦ntr-o lume de co艧mar, 卯n care rela牛iile interumane sunt vitale, conceptul de mit se impune. 脦ntrep膬trunderea planurilor temporale -situate la 33 de ani unele de altele- este un alt aspect important al romanului, definitoriu pentru stabilirea realit膬牛ii concrete care 卯ntemeiaz膬 opera, f膬c芒nd distinc牛ia 卯ntre planurile temporale din contiinta personajului.
Acum... av芒nd 卯n vedere c膬 primul capitol descrie personajul principal ca zv芒rcolindu-se 卯n pat, preocupat de filosofia indiana, tocmai termin芒nd de citit o carte buddhist膬, iar 卯n ultimul capitol el se treze艧te 卯ntr-o camer膬 de hotel, dup膬 un somn lung, ar trebui s膬-l fac膬 pe cititor s膬-艧i pun膬 o 卯ntrebarea referitoare la ob芒r艧ia visului protagonistului (care nu e exclusiv rupt de realitate).
Ceea ce st膬 la baza romanului este 卯ns膬 obscuritismul, conflictul dintre personaj 艧i alterego, 卯ntruchipat 卯n diferitele personaje care apar de-a lungul romanului, rela牛ia dintre voin牛膬 艧i "minune", 卯n牛eleas膬 卯n sens iudaic. 脦ns膬 acest aspect are o prea mare anvergur膬 pentru a putea fi, chiar 艧i sumar, redat aici...
Abordare filosofic膬 spinozist膬, aduc芒nd aminte de "Substan牛膬", sub forma contempla牛iei: "... n-om fi 艧i noi, fiin牛ele vii, un fel de zdren牛e de h芒rtie? Nu cumva v芒ntul, sau altceva, cine 艧tie ce, ne m芒na, nev膬zut, ne卯n牛eles, 卯ncoace 艧i 卯ncolo, hot膬r芒nd ce s膬 facem 艧i ce nu, c芒nd noi, ne艧tiutori, ne 卯ncredem 卯n voin牛膬 艧i zicem c膬-i a noastr膬?"
"Fiecare 卯ntrebare pe care 艧i-a pus-o omul 卯艧i g膬se艧te r膬spunsul chiar 卯n clipa 卯n care 艧i-a pus-o 卯n minte [...]. Via牛a nu-i nimic altceva dec芒t o sum膬 de 卯ntreb膬ri care au prins form膬, purt芒nd germenele r膬spunsurilor 卯n ele."
"C芒t膬 metod膬 卯n nebunia lui Charousek! S膬 fie oare nebunie? [...] El ascult膬 de porunca pe care i-o d膬 un instinct cu putere peste tot 艧i toate, f膬r膬 s膬 se g芒ndeasc膬 nicio clip膬 la vreo r膬splat膬, aici sau dincolo."
"Dac膬-l 卯mb膬tai, 卯l apuca o triste牛e f膬r膬 margini 艧i, 卯nfrigurat, cu lacrimi 艧i sughi牛uri, decupa 卯ntruna, coal膬 dup膬 coal膬, acela艧i profil ascu牛it de fat膬 p芒n膬 le termin膬 pe toate."
"... sunt at芒t de s膬rac cum nici mie nu-mi vine s膬 cred c膬 poate s膬 fie cineva!"
"... cuv芒ntul viu s膬 卯ncremeneasc膬 卯n dogm膬 moart膬!"
Andrei Tama艧,
20 mai 2016
Printr-o tehnic膬 narativ膬 al dracului de ingenioas膬, cititorul este introdus 卯n ghetto-ul (evreiesc) din Praga, nereu艧ind s膬 fac膬 distincia 卯ntre realitatea concret膬 a romanului sau visul propriu-zis al personajului-narator, p膬rta艧 al ac牛iunii...
Nu prea am avut contacte cu literatura de factur膬 iudaic膬 -艧i, la drept vorbind, Gustav Meyrink nu pune 卯n centrul romanului s膬u religia, ci mai degrab膬 mistica, analog膬 magiei- 卯ns膬 modul 卯n care sunt 卯nf膬牛i艧ate "lucr膬rile" din ghetto-ul evreiesc e de-a dreptul frapant.
脦n ceea ce prive艧te personajele, ele sunt mai degrab膬 construite pe principii romantice: "excep牛ionale", extreme, p膬tima艧e, maniace.
脦ntr-o lume de co艧mar, 卯n care rela牛iile interumane sunt vitale, conceptul de mit se impune. 脦ntrep膬trunderea planurilor temporale -situate la 33 de ani unele de altele- este un alt aspect important al romanului, definitoriu pentru stabilirea realit膬牛ii concrete care 卯ntemeiaz膬 opera, f膬c芒nd distinc牛ia 卯ntre planurile temporale din contiinta personajului.
Acum... av芒nd 卯n vedere c膬 primul capitol descrie personajul principal ca zv芒rcolindu-se 卯n pat, preocupat de filosofia indiana, tocmai termin芒nd de citit o carte buddhist膬, iar 卯n ultimul capitol el se treze艧te 卯ntr-o camer膬 de hotel, dup膬 un somn lung, ar trebui s膬-l fac膬 pe cititor s膬-艧i pun膬 o 卯ntrebarea referitoare la ob芒r艧ia visului protagonistului (care nu e exclusiv rupt de realitate).
Ceea ce st膬 la baza romanului este 卯ns膬 obscuritismul, conflictul dintre personaj 艧i alterego, 卯ntruchipat 卯n diferitele personaje care apar de-a lungul romanului, rela牛ia dintre voin牛膬 艧i "minune", 卯n牛eleas膬 卯n sens iudaic. 脦ns膬 acest aspect are o prea mare anvergur膬 pentru a putea fi, chiar 艧i sumar, redat aici...
Abordare filosofic膬 spinozist膬, aduc芒nd aminte de "Substan牛膬", sub forma contempla牛iei: "... n-om fi 艧i noi, fiin牛ele vii, un fel de zdren牛e de h芒rtie? Nu cumva v芒ntul, sau altceva, cine 艧tie ce, ne m芒na, nev膬zut, ne卯n牛eles, 卯ncoace 艧i 卯ncolo, hot膬r芒nd ce s膬 facem 艧i ce nu, c芒nd noi, ne艧tiutori, ne 卯ncredem 卯n voin牛膬 艧i zicem c膬-i a noastr膬?"
"Fiecare 卯ntrebare pe care 艧i-a pus-o omul 卯艧i g膬se艧te r膬spunsul chiar 卯n clipa 卯n care 艧i-a pus-o 卯n minte [...]. Via牛a nu-i nimic altceva dec芒t o sum膬 de 卯ntreb膬ri care au prins form膬, purt芒nd germenele r膬spunsurilor 卯n ele."
"C芒t膬 metod膬 卯n nebunia lui Charousek! S膬 fie oare nebunie? [...] El ascult膬 de porunca pe care i-o d膬 un instinct cu putere peste tot 艧i toate, f膬r膬 s膬 se g芒ndeasc膬 nicio clip膬 la vreo r膬splat膬, aici sau dincolo."
"Dac膬-l 卯mb膬tai, 卯l apuca o triste牛e f膬r膬 margini 艧i, 卯nfrigurat, cu lacrimi 艧i sughi牛uri, decupa 卯ntruna, coal膬 dup膬 coal膬, acela艧i profil ascu牛it de fat膬 p芒n膬 le termin膬 pe toate."
"... sunt at芒t de s膬rac cum nici mie nu-mi vine s膬 cred c膬 poate s膬 fie cineva!"
"... cuv芒ntul viu s膬 卯ncremeneasc膬 卯n dogm膬 moart膬!"
Andrei Tama艧,
20 mai 2016
April 22, 2020
Think Kafka - but on whatever Lewis Carroll was on for "Alice in wonderland" [prtf]
December 5, 2016
螆谓伪 伪蟺慰 蟿伪 蟺喂慰 蟺蔚蟻委蔚蟻纬伪 尾喂尾位委伪 蟺慰蠀 苇蠂蠅 未喂伪尾维蟽蔚喂.螠蔚 渭蟺苇蟻未蔚蠄蔚,维蟻纬畏蟽伪 渭蟺蠅 蟽蟿慰 魏位委渭伪 蟿慰蠀 纬喂伪蟿委 蟺蔚蟻委渭蔚谓伪 渭喂伪 蟿蔚位蔚委蠅蟼 未喂伪蠁慰蟻蔚蟿喂魏萎 喂蟽蟿慰蟻委伪 魏伪喂 蟺伪蟻伪位委纬慰 谓伪 蟿慰 伪蠁萎蟽蠅 蟽蟿畏谓 伪蟻蠂萎 伪位位维 渭蔚 魏蟻维蟿畏蟽蔚 慰 蠀蟺苇蟻慰蠂慰蟼 蟿蟻蠈蟺慰蟼 纬蟻伪蠁萎蟼 蟿慰蠀 螠苇喂蟻喂谓魏.螤蔚蟻委渭蔚谓伪 渭喂伪 喂蟽蟿慰蟻委伪 渭蔚 蔚蟺委魏蔚谓蟿蟻慰 蟿慰 渭蠀胃喂魏蠈 螕魏蠈位蔚渭 蟺慰蠀 蔚渭蠁伪谓委味蔚蟿伪喂 魏伪喂 蟽蟺苇蟻谓蔚喂 蟿慰谓 蟺伪谓喂魏蠈 魏伪喂 尾蟻苇胃畏魏伪 蟽蔚 苇谓伪 魏蠈蟽渭慰 渭伪纬喂魏蠈,慰谓蔚喂蟻喂魏蠈,慰蟺慰蠀 畏 蠁伪谓蟿伪蟽委伪 渭蟺位苇魏蔚蟿伪喂 渭蔚 蟿畏谓 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪....伪位位维 蟺慰喂伪 蔚委谓伪喂 畏 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 魏伪喂 蟺慰喂伪 畏 蠁伪谓蟿伪蟽委伪;螤慰蠀 蟽蟿伪渭伪蟿维蔚喂 蟿慰 蠈谓蔚喂蟻慰 魏伪喂 蟿喂 伪魏蟻喂尾蠋蟼 蟽蠀渭尾伪委谓蔚喂;
螘委谓伪喂 苇谓伪 尾喂尾位委慰 蟺慰位蠀蔚蟺委蟺蔚未慰,纬蔚渭维蟿慰 蟽蠀渭尾慰位喂蟽渭慰蠉蟼(未蔚谓 蔚委渭伪喂 蟽委纬慰蠀蟻畏 慰蟿喂 苇蟺喂伪蟽伪 蠈位伪 蠈蟽伪 萎胃蔚位蔚 谓伪 蟺蔚喂),魏伪喂 渭蠉胃慰蠀蟼 蟺慰蠀 维位位慰蠀蟼 纬谓蠋蟻喂味伪 魏伪喂 纬喂伪 维位位慰蠀蟼 伪谓伪纬魏维蟽蟿畏魏伪 谓伪 蠄维尉蠅 位喂纬慰,魏伪喂 渭蔚 未蠀蟽魏蠈位蔚蠄蔚 伪蟻魏蔚蟿伪.螔蟻苇胃畏魏伪 蟺慰位位苇蟼 蠁慰蟻苇蟼 谓伪 纬蠀蟻委味蠅 蟺委蟽蠅 魏伪喂 谓伪 尉伪谓伪未喂伪尾维味蠅 蟿伪 委未喂伪 魏慰渭渭维蟿喂伪 纬喂伪蟿委 萎渭慰蠀谓 蟽委纬慰蠀蟻畏 慰蟿喂 魏维蟿喂 苇蠂伪蟽伪.
韦蔚位蔚喂蠋谓慰谓蟿维蟼 蟿慰 ,苇蠂蠅 谓伪 蟺蠅 慰蟿喂 蠈蟿伪谓 蟽蟿伪渭维蟿畏蟽伪 谓伪 蟺蟻慰蟽蟺伪胃蠋 谓伪 魏伪蟿伪位维尾蠅 蟿喂 蟽蠀渭尾伪委谓蔚喂 渭蔚 蟿慰谓 螤苇蟻谓伪胃 魏伪喂 维蠁畏蟽伪 蟿畏谓 喂蟽蟿慰蟻委伪 魏伪喂 蟿畏谓 渭伪纬蔚蠀蟿喂魏萎 纬慰蟿胃喂魏萎 伪蟿渭蠈蟽蠁伪喂蟻伪 蟿畏蟼 螤蟻维纬伪蟼 谓伪 渭蔚 蟺伪蟻伪蟽蠉蟻蔚喂 ,蟺蔚蟻喂渭苇谓慰谓蟿伪蟼 谓伪 渭慰蠀 位蠀胃慰蠉谓 慰喂 伪蟺慰蟻委蔚蟼 蟽蟿慰 蟿苇位慰蟼,蟿慰 伪蟺蠈位伪蠀蟽伪 蟺蟻伪纬渭伪蟿喂魏维.
螘委谓伪喂 苇谓伪 尾喂尾位委慰 蟺慰位蠀蔚蟺委蟺蔚未慰,纬蔚渭维蟿慰 蟽蠀渭尾慰位喂蟽渭慰蠉蟼(未蔚谓 蔚委渭伪喂 蟽委纬慰蠀蟻畏 慰蟿喂 苇蟺喂伪蟽伪 蠈位伪 蠈蟽伪 萎胃蔚位蔚 谓伪 蟺蔚喂),魏伪喂 渭蠉胃慰蠀蟼 蟺慰蠀 维位位慰蠀蟼 纬谓蠋蟻喂味伪 魏伪喂 纬喂伪 维位位慰蠀蟼 伪谓伪纬魏维蟽蟿畏魏伪 谓伪 蠄维尉蠅 位喂纬慰,魏伪喂 渭蔚 未蠀蟽魏蠈位蔚蠄蔚 伪蟻魏蔚蟿伪.螔蟻苇胃畏魏伪 蟺慰位位苇蟼 蠁慰蟻苇蟼 谓伪 纬蠀蟻委味蠅 蟺委蟽蠅 魏伪喂 谓伪 尉伪谓伪未喂伪尾维味蠅 蟿伪 委未喂伪 魏慰渭渭维蟿喂伪 纬喂伪蟿委 萎渭慰蠀谓 蟽委纬慰蠀蟻畏 慰蟿喂 魏维蟿喂 苇蠂伪蟽伪.
韦蔚位蔚喂蠋谓慰谓蟿维蟼 蟿慰 ,苇蠂蠅 谓伪 蟺蠅 慰蟿喂 蠈蟿伪谓 蟽蟿伪渭维蟿畏蟽伪 谓伪 蟺蟻慰蟽蟺伪胃蠋 谓伪 魏伪蟿伪位维尾蠅 蟿喂 蟽蠀渭尾伪委谓蔚喂 渭蔚 蟿慰谓 螤苇蟻谓伪胃 魏伪喂 维蠁畏蟽伪 蟿畏谓 喂蟽蟿慰蟻委伪 魏伪喂 蟿畏谓 渭伪纬蔚蠀蟿喂魏萎 纬慰蟿胃喂魏萎 伪蟿渭蠈蟽蠁伪喂蟻伪 蟿畏蟼 螤蟻维纬伪蟼 谓伪 渭蔚 蟺伪蟻伪蟽蠉蟻蔚喂 ,蟺蔚蟻喂渭苇谓慰谓蟿伪蟼 谓伪 渭慰蠀 位蠀胃慰蠉谓 慰喂 伪蟺慰蟻委蔚蟼 蟽蟿慰 蟿苇位慰蟼,蟿慰 伪蟺蠈位伪蠀蟽伪 蟺蟻伪纬渭伪蟿喂魏维.
July 22, 2021
Bei diesem Klassiker hatte ich von Beginn an zwei Hauptkritikpunkte. Der erste von beiden wurde vom Autor gar grandios gegen mich verwendet, indem er mich am Ende der Geschichte meisterlich am Nasenring vorf眉hrte und meine Kritik nicht nur vorwegnahm, sondern gegen mich verwendete. Chapeau! Gro脽es Kino und geniales Schreibhandwerk. Der zweite Kritikpunkt, der versteckte Antisemitismus, bleibt bedauerlich bis zum Ende bestehen und wird auch nicht ausgemerzt, im Gegenteil, er ist so subtil und manipulativ eingesetzt, dass mich so etwas immer gegen eine Geschichte aufbringt, egal, wie alt sie ist, ob so etwas zu dieser Zeit normal war und wie gut der Roman sonst fabriziert wurde. Doch nun zum Detail der beiden Punkte.
Kritikpunkt eins, der gar genial am Ende des Werkes verpufft, war die an den Haaren herbeigezogene auf Zwang geb眉rstete bedrohliche Umgebung, die es im realen Prag, das in dem Fall zu mehr als 85% noch genauso heutzutage existiert, gar nicht gibt und auch damals gar nicht geben konnte.
Mein realistisches Hintergrundradar schaltet da immer vollautomatisch auf Detektion.
Vor allem, weil ich genau die Wege und die Geb盲ude innen und au脽en seit meinem Geburtstag im J盲nner 2020 kenne, als wir uns einmal ohne Touristenwahnsinn die Prager Altstadt genau anschauen wollten. Klar, ist das ganze oft auch dem Wetter geschuldet, aber es war halt bei meinem Besuch auch J盲nner es war auch dunkel kalt, aber es war sehr wenig gruselig, weder in der Judenstadt (wo ich es mir noch eher vorstellen k枚nnte, da seit der Renovierung heute ja nur noch Bruchteile stehen), noch auf dem Hradschin, noch auf dem Weg vom 2. Bezirk auf den Hradschin. Wenn man jetzt einwenden m枚chte, dass wir ja heute in einer anderen Zeit leben mit all dem Licht und den modernen Geb盲uden, dann muss ich dagegenhalten, dass die ganze Strecke, die Meyrink beschreibt, bis auf die Judenstadt noch heute original ist, inklusive der Stra脽enbeleuchtung, die definitiv aus der Jahrhundertwende stammt, da die Lampen original Jugendstil sind. Eines, dachte ich, hat Meyrink auch nicht ber眉cksichtigt, wenn er die f眉rchterlich gruseligen Steinstufen zum Hradschin hinaufsteigt, dann geht Protagonist Pernath rechter und linker Hand mitten durch einen Weinberg, dieses Weingut des Heiligen Wenzel gibt es schon seit dem 10 Jahrhundert.
Das fand ich halt uspr眉nglich schon a bisssi Dings, wegen der Stimmung im Roman, einen der ungruseligsten Wege so auf Grauen aufzumascherln. Denn an einem Weinberg ist gar nix gruselig nicht mal mit viel Nebel.
Abgesehen davon, dass die geschilderten Umst盲nde unrealistisch sind, wenn man die Gegebenheiten kennt, schafft es Meyrink jedoch meisterlich, ein bedrohlich waberndes Hintergrundszenario zu kreieren. Was dem Autor zudem au脽erordentlich genial gelingt, ist es, eine paranoide Hintergrundstimmung in den zwischenmenschlichen Beziehungen in die Geschichte einzubauen. Obwohl alle Figuren nicht wirklich sehr bedrohlich agieren und nur hin und wieder a bissi altagsaggressiv sind, sp眉rt ein von Verfolgungswahn gepr盲gter Geist wie die Hauptfigur Pernath sofort die dunklen M盲chte und das wird der Leserschaft wirklich sehr glaubw眉rdig vermittelt.
Meyrink hat mich am Ende also an der Nase rumgef眉hrt und genau meiner Kritik, wie sie sicher auch unter anderen Pragauskennern sehr h盲ufig ge盲u脽ert wurde, vollst盲ndig den Zahn gezogen und sie pulverisiert. Am Ende war alles nur ein paranoider Wahn und ein Hirngespinst, das der Hut von Meister Pernath ausgel枚st hat. Der Finder des Hutes geht am Ende des Romans dieselbe Strecke und konstatiert, in der Realit盲t angekommen, genau dasselbe wie ich, dass der beschriebene Weg in jedem Fall total ungruselig ist. Das ist sowas von abgedreht so als h盲tte der Autor meine urspr眉ngliche Kritik vorausgeplant, um mich dann auch noch am Nasenring vorzuf眉hren. Das ist ganz gro脽e Literatur!
Zu Kritikpunkt 2: Ich k盲mpfte den ganzen Roman diesem uns盲glichen unterschwelligen Antisemitismus, der aus jedem Satz Meyrinks tropft. Da ich aus dieser Zeit bisher fast nur 枚sterreichisch-j眉dische Literatur gelesen hab (Musil, Roth, Schnitzler鈥�), wo so etwas einfach nicht 眉blich war, bin ich so einen selbstverst盲ndlichen Judenhass 眉berhaupt nicht gewohnt ...das triggert mich immer sehr stark, wiewohl ich nat眉rlich historisch wei脽, dass das nat眉rlich in anderen literarischen Werken au脽erhalb 脰sterreichs durchaus 眉blich war.
Ich kann auch in historischen Werken mit dem ganz gut versteckten Antisemitismus nix anfangen, da gruselt es mich mehr als bei den gruseligen Beschreibungen. Klar ist Meyrink kein offener gl眉hender Antisemit, aber er bedient vortrefflich verdeckt und ziemlich manipulativ die antisemitischen Codes. Ja, seine fast allesamt j眉dischen Figuren fr枚nen dem Selbsthass und es kommt kein einziger Tscheche vor, der offen antisemitische Aussagen t盲tigt. Aber die den selbsthassenden Figuren zugeschriebenen Eigenschaften sind halt typisch jene, die den Juden vorgeworfen werden: Geiz, Geldgier, heimlicher Reichtum, unertr盲gliche H盲sslichkeit (rote Haare bei Frauen, Hasenscharte und andere Deformationen bei M盲nnern, Judennase), ungesundes Blut, R眉cksichtslosigkeit ... .
Das ist f眉r mich insofern problematisch, da ich schon sehr viele Darstellungen j眉discher Schriftsteller von j眉dischem Leben gelesen habe und vor dem Holocaust war keine von solchem Selbsthass gepr盲gt, der eben die typischen zugesagten j眉dischen Eigenschaften fokussierte, dieser Selbsthass war nur eine Projektion und eine sich selbst erf眉llende Prophezeiung, die der Antisemitismus und der Holocaust angerichtet haben. Im Gegenteil, die Wiener Juden des Mittelstands waren um 1900 ein fr枚hliches gro脽z眉giges sehr bildungsbewusstes V枚lkchen und die chassidischen Juden des Ostens waren tiefreligi枚se Menschen auch total ungeizig und nur ein bisschen auf Leiden programmiert. Wenn sie Selbsthass zeigten und im exzessiven Leiden aufgingen wie Joseph Roths Hiob, dann in ganz normalen anderen menschlichen Gebieten. Sie litten so wie alle Menschen ihres Kulturkreises - ich meine nichtj眉dische 脰sterreicher, Tschechen und Deutsche - auch am Tod von Kindern, an normalen Krankheiten, an der Armut ohne grausliche Gier und R眉cksichtslosigkeit und anschlie脽end nat眉rlich am Krieg.
Meyrink beschreibt ja dieses von antisemitischen Selbsthass-Codes gepr盲gte j眉dische Leben nicht aus Innensicht, denn er ist Deutscher - dies ist also erstens eine Zuschreibung und entsprach zumindest vor den Nazis auch nie der Realit盲t. Aus diesem Grund kann ich dieser ganzen auf naiv getrimmten Beschreibung der furchtbaren Zust盲nde in der Judenstadt Prags nicht die gute Absicht des Autors abkaufen. So eine geballte Ladung aus typisch auf j眉disch b枚sartigen Menschen gab es nirgends, nicht Mal in den 盲rmsten Vierteln. Eine oder zwei Figuren vielleicht, in jedem nichtj眉dischen Wohnviertel gibt es ein paar asoziale Arschl枚cher und Verbrecher, aber nicht in dieser Dichte.
Ein kleiner Gedankensprung von mir noch: Was die Konzentrationslager anschlie脽end mit den Juden gemacht haben - n盲mlich dass sie durch die Folter, den t盲glichen 脺berlebenskampf und die psychopathischen Methoden durch die Nazis dazu gebracht wurden, sich genauso zu verhalten, wie man sie vorher immer f盲lschlich beschrieben hat - beschreibt Edgar Hilsenrath extrem gut in seinem grausam realistischen Roman Nacht. Dass so was aber nicht nur mit Juden, sondern mit allen Menschen funktioniert, beschreibt das .
Fazit: Von der sprachlichen und plottechnischen Komposition war das Werk genial, es ist gruselig, spannend und rasant, die Geschichte h盲lt die Leser*innen in den Klauen. So geht Gruselgeschichte literarisch anspruchsvoll und sprachlich auf h枚chstem Niveau. Die Figuren, wenn sie auch antisemitisch gezeichnet waren, waren psychologisch sehr tief und 鈥瀕iebevoll鈥� (besser gesagt eigentlich akribisch und schl眉ssig hasserf眉llt) konzipiert. Letztendlich hat sich der Roman bei mir noch auf ca. 3,5 Sterne gedreht, die ich wohlwollend auf 4 aufrunde, oder auch nicht. Muss mir noch 眉berlegen, wie ich heutzutage einen manipulativ versteckten Antisemitismus aus einer Zeit abstrafen bzw. bewerten soll, in der so etwas in der deutschst盲mmigen, tschechischen und polnischen Bev枚lkerung normal war. Soll ich literarisch oder inhaltlich emotional urteilen?
P.S: Einen Kritikpunkt habe ich noch an die Adresse des Reclam Verlages. Das Hintergrundmaterial, das sonst immer im Verlag 眉blich z.B. bei den Schnitzler Werken au脽erordentlich umfangreich, erhellend und gro脽artig beigef眉gt wurde, fehlt diesmal v枚llig. Wahrscheinlich weil der Roman eh schon so lang ist. Trotzdem vermisse ich schmerzlich einen Prager Stadtplan mit den Stationen der Geschichte, so wie im Leutnant Gustl und eine Einordnung des Romans in die Zeit, so wie bei den restlichen Schnitzler Werken. Den typischen umfangreichen Anhang in den schmaleren Reclam B盲nden empfinde ich n盲mlich nicht als L眉ckenf眉ller, sondern als echte Notwendigkeit und Bereicherung.
Kritikpunkt eins, der gar genial am Ende des Werkes verpufft, war die an den Haaren herbeigezogene auf Zwang geb眉rstete bedrohliche Umgebung, die es im realen Prag, das in dem Fall zu mehr als 85% noch genauso heutzutage existiert, gar nicht gibt und auch damals gar nicht geben konnte.
Mein realistisches Hintergrundradar schaltet da immer vollautomatisch auf Detektion.
Vor allem, weil ich genau die Wege und die Geb盲ude innen und au脽en seit meinem Geburtstag im J盲nner 2020 kenne, als wir uns einmal ohne Touristenwahnsinn die Prager Altstadt genau anschauen wollten. Klar, ist das ganze oft auch dem Wetter geschuldet, aber es war halt bei meinem Besuch auch J盲nner es war auch dunkel kalt, aber es war sehr wenig gruselig, weder in der Judenstadt (wo ich es mir noch eher vorstellen k枚nnte, da seit der Renovierung heute ja nur noch Bruchteile stehen), noch auf dem Hradschin, noch auf dem Weg vom 2. Bezirk auf den Hradschin. Wenn man jetzt einwenden m枚chte, dass wir ja heute in einer anderen Zeit leben mit all dem Licht und den modernen Geb盲uden, dann muss ich dagegenhalten, dass die ganze Strecke, die Meyrink beschreibt, bis auf die Judenstadt noch heute original ist, inklusive der Stra脽enbeleuchtung, die definitiv aus der Jahrhundertwende stammt, da die Lampen original Jugendstil sind. Eines, dachte ich, hat Meyrink auch nicht ber眉cksichtigt, wenn er die f眉rchterlich gruseligen Steinstufen zum Hradschin hinaufsteigt, dann geht Protagonist Pernath rechter und linker Hand mitten durch einen Weinberg, dieses Weingut des Heiligen Wenzel gibt es schon seit dem 10 Jahrhundert.
Das fand ich halt uspr眉nglich schon a bisssi Dings, wegen der Stimmung im Roman, einen der ungruseligsten Wege so auf Grauen aufzumascherln. Denn an einem Weinberg ist gar nix gruselig nicht mal mit viel Nebel.
Abgesehen davon, dass die geschilderten Umst盲nde unrealistisch sind, wenn man die Gegebenheiten kennt, schafft es Meyrink jedoch meisterlich, ein bedrohlich waberndes Hintergrundszenario zu kreieren. Was dem Autor zudem au脽erordentlich genial gelingt, ist es, eine paranoide Hintergrundstimmung in den zwischenmenschlichen Beziehungen in die Geschichte einzubauen. Obwohl alle Figuren nicht wirklich sehr bedrohlich agieren und nur hin und wieder a bissi altagsaggressiv sind, sp眉rt ein von Verfolgungswahn gepr盲gter Geist wie die Hauptfigur Pernath sofort die dunklen M盲chte und das wird der Leserschaft wirklich sehr glaubw眉rdig vermittelt.
Meyrink hat mich am Ende also an der Nase rumgef眉hrt und genau meiner Kritik, wie sie sicher auch unter anderen Pragauskennern sehr h盲ufig ge盲u脽ert wurde, vollst盲ndig den Zahn gezogen und sie pulverisiert. Am Ende war alles nur ein paranoider Wahn und ein Hirngespinst, das der Hut von Meister Pernath ausgel枚st hat. Der Finder des Hutes geht am Ende des Romans dieselbe Strecke und konstatiert, in der Realit盲t angekommen, genau dasselbe wie ich, dass der beschriebene Weg in jedem Fall total ungruselig ist. Das ist sowas von abgedreht so als h盲tte der Autor meine urspr眉ngliche Kritik vorausgeplant, um mich dann auch noch am Nasenring vorzuf眉hren. Das ist ganz gro脽e Literatur!
Zu Kritikpunkt 2: Ich k盲mpfte den ganzen Roman diesem uns盲glichen unterschwelligen Antisemitismus, der aus jedem Satz Meyrinks tropft. Da ich aus dieser Zeit bisher fast nur 枚sterreichisch-j眉dische Literatur gelesen hab (Musil, Roth, Schnitzler鈥�), wo so etwas einfach nicht 眉blich war, bin ich so einen selbstverst盲ndlichen Judenhass 眉berhaupt nicht gewohnt ...das triggert mich immer sehr stark, wiewohl ich nat眉rlich historisch wei脽, dass das nat眉rlich in anderen literarischen Werken au脽erhalb 脰sterreichs durchaus 眉blich war.
Ich kann auch in historischen Werken mit dem ganz gut versteckten Antisemitismus nix anfangen, da gruselt es mich mehr als bei den gruseligen Beschreibungen. Klar ist Meyrink kein offener gl眉hender Antisemit, aber er bedient vortrefflich verdeckt und ziemlich manipulativ die antisemitischen Codes. Ja, seine fast allesamt j眉dischen Figuren fr枚nen dem Selbsthass und es kommt kein einziger Tscheche vor, der offen antisemitische Aussagen t盲tigt. Aber die den selbsthassenden Figuren zugeschriebenen Eigenschaften sind halt typisch jene, die den Juden vorgeworfen werden: Geiz, Geldgier, heimlicher Reichtum, unertr盲gliche H盲sslichkeit (rote Haare bei Frauen, Hasenscharte und andere Deformationen bei M盲nnern, Judennase), ungesundes Blut, R眉cksichtslosigkeit ... .
Das ist f眉r mich insofern problematisch, da ich schon sehr viele Darstellungen j眉discher Schriftsteller von j眉dischem Leben gelesen habe und vor dem Holocaust war keine von solchem Selbsthass gepr盲gt, der eben die typischen zugesagten j眉dischen Eigenschaften fokussierte, dieser Selbsthass war nur eine Projektion und eine sich selbst erf眉llende Prophezeiung, die der Antisemitismus und der Holocaust angerichtet haben. Im Gegenteil, die Wiener Juden des Mittelstands waren um 1900 ein fr枚hliches gro脽z眉giges sehr bildungsbewusstes V枚lkchen und die chassidischen Juden des Ostens waren tiefreligi枚se Menschen auch total ungeizig und nur ein bisschen auf Leiden programmiert. Wenn sie Selbsthass zeigten und im exzessiven Leiden aufgingen wie Joseph Roths Hiob, dann in ganz normalen anderen menschlichen Gebieten. Sie litten so wie alle Menschen ihres Kulturkreises - ich meine nichtj眉dische 脰sterreicher, Tschechen und Deutsche - auch am Tod von Kindern, an normalen Krankheiten, an der Armut ohne grausliche Gier und R眉cksichtslosigkeit und anschlie脽end nat眉rlich am Krieg.
Meyrink beschreibt ja dieses von antisemitischen Selbsthass-Codes gepr盲gte j眉dische Leben nicht aus Innensicht, denn er ist Deutscher - dies ist also erstens eine Zuschreibung und entsprach zumindest vor den Nazis auch nie der Realit盲t. Aus diesem Grund kann ich dieser ganzen auf naiv getrimmten Beschreibung der furchtbaren Zust盲nde in der Judenstadt Prags nicht die gute Absicht des Autors abkaufen. So eine geballte Ladung aus typisch auf j眉disch b枚sartigen Menschen gab es nirgends, nicht Mal in den 盲rmsten Vierteln. Eine oder zwei Figuren vielleicht, in jedem nichtj眉dischen Wohnviertel gibt es ein paar asoziale Arschl枚cher und Verbrecher, aber nicht in dieser Dichte.
Ein kleiner Gedankensprung von mir noch: Was die Konzentrationslager anschlie脽end mit den Juden gemacht haben - n盲mlich dass sie durch die Folter, den t盲glichen 脺berlebenskampf und die psychopathischen Methoden durch die Nazis dazu gebracht wurden, sich genauso zu verhalten, wie man sie vorher immer f盲lschlich beschrieben hat - beschreibt Edgar Hilsenrath extrem gut in seinem grausam realistischen Roman Nacht. Dass so was aber nicht nur mit Juden, sondern mit allen Menschen funktioniert, beschreibt das .
Fazit: Von der sprachlichen und plottechnischen Komposition war das Werk genial, es ist gruselig, spannend und rasant, die Geschichte h盲lt die Leser*innen in den Klauen. So geht Gruselgeschichte literarisch anspruchsvoll und sprachlich auf h枚chstem Niveau. Die Figuren, wenn sie auch antisemitisch gezeichnet waren, waren psychologisch sehr tief und 鈥瀕iebevoll鈥� (besser gesagt eigentlich akribisch und schl眉ssig hasserf眉llt) konzipiert. Letztendlich hat sich der Roman bei mir noch auf ca. 3,5 Sterne gedreht, die ich wohlwollend auf 4 aufrunde, oder auch nicht. Muss mir noch 眉berlegen, wie ich heutzutage einen manipulativ versteckten Antisemitismus aus einer Zeit abstrafen bzw. bewerten soll, in der so etwas in der deutschst盲mmigen, tschechischen und polnischen Bev枚lkerung normal war. Soll ich literarisch oder inhaltlich emotional urteilen?
P.S: Einen Kritikpunkt habe ich noch an die Adresse des Reclam Verlages. Das Hintergrundmaterial, das sonst immer im Verlag 眉blich z.B. bei den Schnitzler Werken au脽erordentlich umfangreich, erhellend und gro脽artig beigef眉gt wurde, fehlt diesmal v枚llig. Wahrscheinlich weil der Roman eh schon so lang ist. Trotzdem vermisse ich schmerzlich einen Prager Stadtplan mit den Stationen der Geschichte, so wie im Leutnant Gustl und eine Einordnung des Romans in die Zeit, so wie bei den restlichen Schnitzler Werken. Den typischen umfangreichen Anhang in den schmaleren Reclam B盲nden empfinde ich n盲mlich nicht als L眉ckenf眉ller, sondern als echte Notwendigkeit und Bereicherung.
January 26, 2022
Lo encontr茅 muy aburrido. Personajes apenas descriptos, tramos en que se vuelve dif铆cil distinguir si se habla del presente o el pasado, el Golem que en realidad nunca ocupa un espacio significativo en la narraci贸n, y un villano que aglutina absolutamente todos los estereotipos anti-semitas. Quiz谩s otras personas lo encuentren entretenido, pero no fue mi caso.
February 15, 2019
螠苇蟽伪 蟽蔚 蟿蟻蔚喂蟼 渭苇蟻蔚蟼 蟿伪尉委未蔚蠄伪 蟽蔚 蠈谓蔚喂蟻伪 魏伪喂 蟽蟿伪 蟽蟿蔚谓维 蟽魏慰蟿蔚喂谓维 蟽慰魏维魏喂伪 蟿畏蟼 螤蟻维纬伪蟼. 螕谓蠋蟻喂蟽伪 伪谓胃蟻蠋蟺慰蠀蟼 魏伪喂 喂蟽蟿慰蟻委蔚蟼, 维位位慰蟿蔚 蠁蟻喂魏喂伪蟽蟿喂魏苇蟼 魏伪喂 维位位慰蟿蔚 蠂伪蟻慰蠉渭蔚谓蔚蟼. 螆渭伪胃伪 纬喂伪 蟺伪位喂苇蟼 蟺伪蟻伪未蠈蟽蔚喂蟼 魏伪喂 维纬谓蠅蟽蟿蔚蟼 渭苇蠂蟻喂 蟿蠋蟻伪 蠁喂位慰蟽慰蠁委蔚蟼. 螝伪喂 蠈位伪 伪蠀蟿维 蔚谓蠋 尾蟻喂蟽魏蠈渭慰蠀谓 蔚魏蔚委. 危蟿畏谓 螤蟻维纬伪. 螣 螠苇喂蟻喂谓魏 魏伪蟿伪蠁苇蟻谓蔚喂 魏维蟿喂 蟺慰蠀 蔚位维蠂喂蟽蟿慰喂 蟽蠀纬纬蟻伪蠁蔚委蟼 蟿慰 苇蠂慰蠀谓 蟺蔚蟿蠉蠂蔚喂 蟿蠈蟽慰 魏伪位维. 危蔚 尾维味蔚喂 蟽蔚 苇谓伪谓 魏蠈蟽渭慰 蠀蟺伪蟻魏蟿蠈 魏伪喂 慰谓蔚喂蟻喂魏蠈 蟽蠀谓维渭伪, 蟽蔚 渭委伪 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 蠈蟺慰蠀 蟿伪 蠈蟻喂伪 蟿畏蟼 蠁伪谓蟿伪蟽委伪蟼 未蔚谓 蔚委谓伪喂 蟿蠈蟽慰 尉蔚魏维胃伪蟻伪. 螤慰位位慰委 苇蠂慰蠀谓 蟺蟻慰蟽蟺伪胃萎蟽蔚喂 谓伪 纬蟻维蠄慰蠀谓 纬喂伪 蠁伪谓蟿伪蟽蟿喂魏慰蠉蟼 魏蠈蟽渭慰蠀蟼, 伪位位维 魏伪蟿维 蟿畏谓 蟿伪蟺蔚喂谓萎 渭慰蠀 维蟺慰蠄畏 慰 螠苇喂蟻喂谓魏 蔚委谓伪喂 苇谓伪蟼 伪蟺蠈 蟿慰蠀蟼 位委纬慰蠀蟼 蟺慰蠀 蟿慰 魏伪蟿维蠁蔚蟻伪谓 蟿蠈蟽慰 魏伪位维. 螖蔚谓 蔚委谓伪喂 渭蠈谓慰 畏 蠀蟺蠈胃蔚蟽畏 蟺慰蠀 蟽蔚 蟿蟻伪尾维蔚喂 伪蟺蠈 蟿畏谓 伪蟻蠂萎, 慰蠉蟿蔚 慰喂 蟺慰位蠉 蔚谓未喂伪蠁苇蟻慰谓蟿蔚蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼. 螖蔚谓 蔚委谓伪喂 魏伪谓 畏 渭蠀蟽蟿畏蟻喂蠋未畏蟼 伪蟿渭蠈蟽蠁伪喂蟻伪 蟺慰蠀 蠀蟺维蟻蠂蔚喂 未喂维蠂蠀蟿畏 蟺伪谓蟿慰蠉. 螘委谓伪喂 蟿慰 蟿伪尉委未喂 蠂喂位喂维未蠅谓 蠂蟻蠈谓蠅谓 蟺慰蠀 伪谓蟿喂魏伪蟿慰蟺蟿蟻委味蔚喂 蟽蔚 魏维胃蔚 蟽蟿维蟽畏 蟿慰蠀, 蟿畏谓 伪谓胃蟻蠋蟺喂谓畏 蠉蟺伪蟻尉畏. 螆蟻纬慰 蟺慰位蠉蟺位蔚蠀蟻慰, 未蠉蟽魏慰位慰 魏伪喂 尾伪胃喂维 蠁喂位慰蟽慰蠁喂魏蠈, 蟺蟻慰蟽魏伪位蔚委 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏 谓伪 味萎蟽蔚喂 渭委伪 蔚渭蟺蔚喂蟻委伪 蟺慰蠀 未蠉蟽魏慰位伪 渭蟺慰蟻蔚委 谓伪 蟽蠀纬魏蟻喂胃蔚委 渭蔚 魏维蟿喂 伪谓蟿委蟽蟿慰喂蠂慰. 螖蔚谓 蔚委谓伪喂 尾喂尾位委慰 蟿蟻蠈渭慰蠀, 蟿慰 魏蔚谓蟿蟻喂魏蠈 胃苇渭伪 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 未蔚谓 蔚委谓伪喂 蟿慰 螕魏蠈位蔚渭 蟺慰蠀 蟽蠁维味蔚喂 魏蠈蟽渭慰 魏伪喂 纬蔚谓喂魏维 未蔚谓 伪蠁慰蟻维 蠈位慰蠀蟼 蠈蟽慰蠀蟼 蠄维蠂谓慰蠀谓 苇谓伪 尾喂尾位委慰 纬喂伪 谓伪 蟺蔚蟻维蟽慰蠀谓 蟿畏谓 蠋蟻伪 蟿慰蠀蟼. 围蟻蔚喂维味蔚蟿伪喂 蠂蟻蠈谓慰, 伪蟻魏蔚蟿苇蟼 伪谓伪纬谓蠋蟽蔚喂蟼 魏伪喂 蠈蟻蔚尉畏 纬喂伪 谓伪 渭蟺慰蟻苇蟽蔚喂 魏维蟺慰喂慰蟼 谓伪 伪蟺慰魏蟻蠀蟺蟿慰纬蟻伪蠁萎蟽蔚喂 魏维胃蔚 蟽蔚位委未伪 蟿慰蠀.
螘委谓伪喂 蔚谓蟿蔚位蠋蟼 伪未蠉谓伪蟿慰谓 谓伪 渭畏谓 蟽蠀纬魏蟻委谓慰蠀渭蔚 蟿慰谓 螠苇喂蟻喂谓魏 渭蔚 蟿慰谓 螞维尾魏蟻伪蠁蟿. 螒蟽蠂慰位萎胃畏魏伪谓 魏伪喂 慰喂 未蠉慰 渭蔚 蟿慰 纬蟻维蠄喂渭慰 蟿畏谓 委未喂伪 蟺蔚蟻委慰未慰, 渭蔚 蟺伪蟻蠈渭慰喂慰 蟽蟿蠀位 纬蟻伪蠁萎蟼 渭喂伪蟼 魏伪喂 慰喂 未蠉慰 伪谓蟿位慰蠉谓 蟿蔚蟻维蟽蟿喂伪 蔚蟺喂蟻蟻慰萎 伪蟺蠈 蟿伪 苇蟻纬伪 蟿慰蠀 螤蠈蔚. 螌渭蠅蟼, 畏 渭蔚纬伪位蠉蟿蔚蟻畏 蟿慰蠀蟼 未喂伪蠁慰蟻维 蔚委谓伪喂 蟽蟿慰谓 蟿蟻蠈蟺慰 蟺慰蠀 苇尾位蔚蟺伪谓 蟿伪 蟺蟻维纬渭伪蟿伪. 螘谓蠋 慰 螞伪尾魏蟻伪蠁蟿 蠂蟿委味蔚喂 蟿慰蠀蟼 魏蠈蟽渭慰蠀蟼 蟿慰蠀 渭苇蟽伪 伪蟺蠈 蟿慰 蟽魏慰蟿维未喂, 蟿慰 渭委蟽慰蟼 蟿慰蠀 纬喂伪 蟿畏谓 伪谓胃蟻蠅蟺蠈蟿畏蟿伪 魏伪喂 蟿畏谓 渭伪谓委伪 蟿慰蠀 纬喂伪 魏伪蟿伪蟽蟿蟻慰蠁萎, 慰 螠苇喂蟻喂谓魏 蠂蟿委味蔚喂 蔚蟺委蟽畏蟼 苇谓伪谓 魏蠈蟽渭慰 渭苇蟽伪 伪蟺蠈 蟿慰 蟽魏慰蟿维未喂, 伪位位维 渭蔚 苇谓伪 蠁喂位慰蟽慰蠁喂魏蠈 魏伪喂 蠀蟺伪蟻尉喂伪魏蠈 蠀蟺蠈尾伪胃蟻慰. 危魏慰蟺蠈蟼 蟿慰蠀 未蔚谓 蔚委谓伪喂 畏 魏伪蟿伪蟽蟿蟻慰蠁萎, 伪位位维 畏 蔚蟺伪纬蟻蠉蟺谓畏蟽畏 蟿畏蟼 蠄蠀蠂萎蟼 蟿慰蠀 魏维胃蔚 蠂伪蟻伪魏蟿萎蟻伪, 伪蟺蠈 蟿慰谓 蟺喂慰 蔚纬魏位畏渭伪蟿喂魏蠈 渭苇蠂蟻喂 蟿慰谓 蟺喂慰 维纬喂慰.
韦慰 渭蠈谓慰 蟺伪蟻维蟺慰谓慰 蟺慰蠀 渭慰蠀 未畏渭喂慰蠀蟻纬萎胃畏魏蔚 蠈蟿伪谓 蟿蔚位蔚委蠅蟽伪 蟿慰 尾喂尾位委慰 蔚委谓伪喂 蟿慰 蠈蟿喂 未蔚谓 蠀蟺维蟻蠂慰蠀谓 维位位伪 尾喂尾位委伪 蟿慰蠀 螠苇喂蟻喂谓魏 渭蔚蟿伪蠁蟻伪蟽渭苇谓伪 蟽蟿伪 蔚位位畏谓喂魏维. 螝伪喂 伪蟺慰蟻蠋 纬喂伪蟿委.
螘委谓伪喂 蔚谓蟿蔚位蠋蟼 伪未蠉谓伪蟿慰谓 谓伪 渭畏谓 蟽蠀纬魏蟻委谓慰蠀渭蔚 蟿慰谓 螠苇喂蟻喂谓魏 渭蔚 蟿慰谓 螞维尾魏蟻伪蠁蟿. 螒蟽蠂慰位萎胃畏魏伪谓 魏伪喂 慰喂 未蠉慰 渭蔚 蟿慰 纬蟻维蠄喂渭慰 蟿畏谓 委未喂伪 蟺蔚蟻委慰未慰, 渭蔚 蟺伪蟻蠈渭慰喂慰 蟽蟿蠀位 纬蟻伪蠁萎蟼 渭喂伪蟼 魏伪喂 慰喂 未蠉慰 伪谓蟿位慰蠉谓 蟿蔚蟻维蟽蟿喂伪 蔚蟺喂蟻蟻慰萎 伪蟺蠈 蟿伪 苇蟻纬伪 蟿慰蠀 螤蠈蔚. 螌渭蠅蟼, 畏 渭蔚纬伪位蠉蟿蔚蟻畏 蟿慰蠀蟼 未喂伪蠁慰蟻维 蔚委谓伪喂 蟽蟿慰谓 蟿蟻蠈蟺慰 蟺慰蠀 苇尾位蔚蟺伪谓 蟿伪 蟺蟻维纬渭伪蟿伪. 螘谓蠋 慰 螞伪尾魏蟻伪蠁蟿 蠂蟿委味蔚喂 蟿慰蠀蟼 魏蠈蟽渭慰蠀蟼 蟿慰蠀 渭苇蟽伪 伪蟺蠈 蟿慰 蟽魏慰蟿维未喂, 蟿慰 渭委蟽慰蟼 蟿慰蠀 纬喂伪 蟿畏谓 伪谓胃蟻蠅蟺蠈蟿畏蟿伪 魏伪喂 蟿畏谓 渭伪谓委伪 蟿慰蠀 纬喂伪 魏伪蟿伪蟽蟿蟻慰蠁萎, 慰 螠苇喂蟻喂谓魏 蠂蟿委味蔚喂 蔚蟺委蟽畏蟼 苇谓伪谓 魏蠈蟽渭慰 渭苇蟽伪 伪蟺蠈 蟿慰 蟽魏慰蟿维未喂, 伪位位维 渭蔚 苇谓伪 蠁喂位慰蟽慰蠁喂魏蠈 魏伪喂 蠀蟺伪蟻尉喂伪魏蠈 蠀蟺蠈尾伪胃蟻慰. 危魏慰蟺蠈蟼 蟿慰蠀 未蔚谓 蔚委谓伪喂 畏 魏伪蟿伪蟽蟿蟻慰蠁萎, 伪位位维 畏 蔚蟺伪纬蟻蠉蟺谓畏蟽畏 蟿畏蟼 蠄蠀蠂萎蟼 蟿慰蠀 魏维胃蔚 蠂伪蟻伪魏蟿萎蟻伪, 伪蟺蠈 蟿慰谓 蟺喂慰 蔚纬魏位畏渭伪蟿喂魏蠈 渭苇蠂蟻喂 蟿慰谓 蟺喂慰 维纬喂慰.
韦慰 渭蠈谓慰 蟺伪蟻维蟺慰谓慰 蟺慰蠀 渭慰蠀 未畏渭喂慰蠀蟻纬萎胃畏魏蔚 蠈蟿伪谓 蟿蔚位蔚委蠅蟽伪 蟿慰 尾喂尾位委慰 蔚委谓伪喂 蟿慰 蠈蟿喂 未蔚谓 蠀蟺维蟻蠂慰蠀谓 维位位伪 尾喂尾位委伪 蟿慰蠀 螠苇喂蟻喂谓魏 渭蔚蟿伪蠁蟻伪蟽渭苇谓伪 蟽蟿伪 蔚位位畏谓喂魏维. 螝伪喂 伪蟺慰蟻蠋 纬喂伪蟿委.
February 4, 2021
Un libro strano, quasi a due volti.
A tratti scorre bene e fa interessare alla storia di Athanesius Pernath nel quartiere ebraico di Vienna, tra i suoi problemi personali legati al suo passato e l'intricata ragnatela di vendette in cui si ritrova suo malgrado invischiato, e a tratti invece colpisce in testa il lettore con fumosi capitoli che ondeggiano tra l'onirico e il mistico pi霉 sfrenati.
Non stupisce leggere in calce al romanzo che l'autore si era a lungo interessato all'occultismo diventandone un esperto, n茅 il ritrovare nella sua vita situazioni che vagamente richiamano scene del libro (come l'ingiusta detenzione preventiva, per dirne una, o i pensieri suicidi).
Per貌 tutti questi vaghi accenni cabalistici e mistici, che attingono a piene mani dalla spiritualit脿 e dalle tradizioni pi霉 arcane ebraiche, privi di qualsiasi spiegazione o approfondimento risultano solo nebulosi e incomprensibili per il lettore digiuno di un'infarinatura nel campo dell'occulto.
E cos矛 si ritorna ai due volti del romanzo.
Alle parti occulte che inizialmente uno cerca di seguire immaginandosi una loro rilevanza nella trama, salvo poi perdersi tra simbolismi, nomi e allusioni, e alle parti di storia vera e propria, alla povert脿 vera o fittizia nel quartiere, agli amori e agli odi, al bene e al male, al degrado e alla nobilt脿.
Peccato che l'interesse per la seconda vena presente nel libro (e no, il fatto che la voce narrante non sia affidabile, l'oniricit脿 del tutto e il finale non mi sono affatto dispiaciuti, anzi!, cos矛 come certe scene confuse ma che generano un'ottima atmosfera degna di Lovecraft) sia controbilanciato dalla confusione che poi sfocia in fastidio e poi in noia della prima vena ampollosamente mistica, che spinge invece al disinteresse,
Combattuto tra l'interesse e la noia, alla fine non posso che dare una valutazione mediana al libro.
Probabilmente servono diverse conoscenze nel campo del mistico rispetto alle mie, per poterlo pienamente apprezzare...
A tratti scorre bene e fa interessare alla storia di Athanesius Pernath nel quartiere ebraico di Vienna, tra i suoi problemi personali legati al suo passato e l'intricata ragnatela di vendette in cui si ritrova suo malgrado invischiato, e a tratti invece colpisce in testa il lettore con fumosi capitoli che ondeggiano tra l'onirico e il mistico pi霉 sfrenati.
Non stupisce leggere in calce al romanzo che l'autore si era a lungo interessato all'occultismo diventandone un esperto, n茅 il ritrovare nella sua vita situazioni che vagamente richiamano scene del libro (come l'ingiusta detenzione preventiva, per dirne una, o i pensieri suicidi).
Per貌 tutti questi vaghi accenni cabalistici e mistici, che attingono a piene mani dalla spiritualit脿 e dalle tradizioni pi霉 arcane ebraiche, privi di qualsiasi spiegazione o approfondimento risultano solo nebulosi e incomprensibili per il lettore digiuno di un'infarinatura nel campo dell'occulto.
E cos矛 si ritorna ai due volti del romanzo.
Alle parti occulte che inizialmente uno cerca di seguire immaginandosi una loro rilevanza nella trama, salvo poi perdersi tra simbolismi, nomi e allusioni, e alle parti di storia vera e propria, alla povert脿 vera o fittizia nel quartiere, agli amori e agli odi, al bene e al male, al degrado e alla nobilt脿.
Peccato che l'interesse per la seconda vena presente nel libro (e no, il fatto che la voce narrante non sia affidabile, l'oniricit脿 del tutto e il finale non mi sono affatto dispiaciuti, anzi!, cos矛 come certe scene confuse ma che generano un'ottima atmosfera degna di Lovecraft) sia controbilanciato dalla confusione che poi sfocia in fastidio e poi in noia della prima vena ampollosamente mistica, che spinge invece al disinteresse,
Combattuto tra l'interesse e la noia, alla fine non posso che dare una valutazione mediana al libro.
Probabilmente servono diverse conoscenze nel campo del mistico rispetto alle mie, per poterlo pienamente apprezzare...
March 20, 2020
Gustav Meyrink's unique infusion of Kabbalism and the Wandering Jew mythos into the Golem legend can get murky at times, but in light of the author's own divided spiritual pursuits it makes sense that clarity remains elusive. As an early fictional reflection of this restless search for inner truth, the book is not as evenly developed as Meyrink's later occult tour de force The Angel of the West Window. Thus, this novel is at times episodic in nature (it was originally published in serial form), alternately dwelling on various possible explanations for what is going on, while only tangentially maintaining contact with the overarching narrative. Though it comes full circle in a manner of speaking, it is still deliberately vague in its conclusion. One can imagine then the narrator placing his own hat back on his head and continuing forth鈥攔einvigorated in his exploration of what dwells within and paying close attention to dreams throughout his ongoing search for hidden truth.
January 30, 2014
Con 鈥楨l Golem鈥� no hay t茅rmino medio. O la consideras una obra capital dentro del g贸tico del siglo XX, o la desprecias sin m谩s, teni茅ndola por una novela enrevesada y pesada. Yo soy de los primeros. Al principio, y sin tener mucha idea de lo que me iba a encontrar, pensaba leer una historia de terror con la figura del mito del Golem de la literatura jud铆a como tema principal. Y no es as铆, porque el terror brilla por su ausencia. Es posible que este sea uno de los principales motivos por los que la gran mayor铆a de lectores se lleven una decepci贸n una vez metidos en su lectura, ya que esperan algo que no llega a surgir nunca, adem谩s de encontrarse con una prosa llena de simbolismos.
La novela tiene como protagonista a Athanasius Pernath y transcurre en el gueto de Praga, tal vez a finales del siglo XIX. Entre sue帽os y alucinaciones, donde es dif铆cil distinguir qu茅 es real, Meyrink nos va adentrando m谩s y m谩s en esa Praga oscura de la mano de Pernath y de los dem谩s personajes secundarios, mezclando sus historias tal como van surgiendo, espont谩neamente. Pero lo que puede parecer confuso para el lector, realmente lo que hace es crear una atm贸sfera de tal intensidad que es imposible no seguir con obsesi贸n la historia de Pernath, que transcurre entre edificios con entradas secretas, personajes que buscan venganza, amantes con oscuros secretos, amigos que no lo son tanto y enemigos ruines, y todo ello le sucede a un Pernath que no recuerda muy bien su pasado y que deambula por un presente que le sobrepasa.
Sin lugar a dudas, 鈥楨l Golem鈥�, publicado en 1915, es un libro que no deja indiferente a nadie. Seguramente no sea una lectura para todo el mundo y tenga un tipo de lector espec铆fico, pero si logras adentrarte en sus p谩ginas, llenas de im谩genes poderosas, el recuerdo que deja es imborrable.
La novela tiene como protagonista a Athanasius Pernath y transcurre en el gueto de Praga, tal vez a finales del siglo XIX. Entre sue帽os y alucinaciones, donde es dif铆cil distinguir qu茅 es real, Meyrink nos va adentrando m谩s y m谩s en esa Praga oscura de la mano de Pernath y de los dem谩s personajes secundarios, mezclando sus historias tal como van surgiendo, espont谩neamente. Pero lo que puede parecer confuso para el lector, realmente lo que hace es crear una atm贸sfera de tal intensidad que es imposible no seguir con obsesi贸n la historia de Pernath, que transcurre entre edificios con entradas secretas, personajes que buscan venganza, amantes con oscuros secretos, amigos que no lo son tanto y enemigos ruines, y todo ello le sucede a un Pernath que no recuerda muy bien su pasado y que deambula por un presente que le sobrepasa.
Sin lugar a dudas, 鈥楨l Golem鈥�, publicado en 1915, es un libro que no deja indiferente a nadie. Seguramente no sea una lectura para todo el mundo y tenga un tipo de lector espec铆fico, pero si logras adentrarte en sus p谩ginas, llenas de im谩genes poderosas, el recuerdo que deja es imborrable.
December 27, 2021
"La vida ya es demasiado triste como para amargarla adem谩s con odio."
La obra nos introducir谩 en la vida de un hombre sin recuerdos. El escenario, antiguo guetto de praga, oscuro y l煤gubre.
Todo comienza con la aparici贸n de un extra帽o sombrero, lo que nos adentrar谩 en la vida del maestro Pernath, qui茅n poco recuerda de su pasado, pero resulta que estos recuerdos ir谩n volviendo a 茅l, confundiendo su realidad y creando un escenario on铆rico muy ca贸tico, con sentimientos de venganza, crimenes y extra帽os pasadizos que formar谩n parte de lo que nos relata nuestro protagonista.
En este proceso en el que va tomando conciencia de su pasado, los sue帽os y pensamientos de nuestro protagonista se van introduciendo espont谩neamente en la trama, y algo similar sucede con los personajes, van apareciendo con muy poca presentaci贸n.
Una historia g贸tica plagada de misterio, simbolismos, surrealismo, escenarios on铆ricos y elementos sobrenaturales.
La prosa del autor es exquisita, muy elegante y cuidada. Utiliza el escenario, situaciones y al protagonista de forma tan prolija que hace muy adictiva la novela e incita a saber m谩s de 茅l, de su b煤squeda y de su extra帽a situaci贸n.
No es un libro que genere miedo, pero la situaci贸n que se narra es inquietante, manteniendo un alto nivel de expectaci贸n y tensi贸n a trav茅s del manejo de lo on铆rico, creando una atm贸sfera de misterio de principio a fin.
Si leen este libro en busca de la gran criatura de la leyenda jud铆a en plena acci贸n, no es lo que encontrar谩n, aqu铆 el golem es m谩s la representaci贸n de algo.
La ilustradora Chilena Alejandra Acosta es tremenda artista y las ilustraciones de este libro son una maravilla, con un nivel de detalles impresionante.
La obra nos introducir谩 en la vida de un hombre sin recuerdos. El escenario, antiguo guetto de praga, oscuro y l煤gubre.
Todo comienza con la aparici贸n de un extra帽o sombrero, lo que nos adentrar谩 en la vida del maestro Pernath, qui茅n poco recuerda de su pasado, pero resulta que estos recuerdos ir谩n volviendo a 茅l, confundiendo su realidad y creando un escenario on铆rico muy ca贸tico, con sentimientos de venganza, crimenes y extra帽os pasadizos que formar谩n parte de lo que nos relata nuestro protagonista.
En este proceso en el que va tomando conciencia de su pasado, los sue帽os y pensamientos de nuestro protagonista se van introduciendo espont谩neamente en la trama, y algo similar sucede con los personajes, van apareciendo con muy poca presentaci贸n.
Una historia g贸tica plagada de misterio, simbolismos, surrealismo, escenarios on铆ricos y elementos sobrenaturales.
La prosa del autor es exquisita, muy elegante y cuidada. Utiliza el escenario, situaciones y al protagonista de forma tan prolija que hace muy adictiva la novela e incita a saber m谩s de 茅l, de su b煤squeda y de su extra帽a situaci贸n.
No es un libro que genere miedo, pero la situaci贸n que se narra es inquietante, manteniendo un alto nivel de expectaci贸n y tensi贸n a trav茅s del manejo de lo on铆rico, creando una atm贸sfera de misterio de principio a fin.
Si leen este libro en busca de la gran criatura de la leyenda jud铆a en plena acci贸n, no es lo que encontrar谩n, aqu铆 el golem es m谩s la representaci贸n de algo.
La ilustradora Chilena Alejandra Acosta es tremenda artista y las ilustraciones de este libro son una maravilla, con un nivel de detalles impresionante.
October 14, 2018
Bat谋 Penceresin'den sonra korkarak ba艧lad谋臒谋m Golem'den az 枚nce mutlu bir 艧ekilde ayr谋ld谋m. Ger莽ekten bu bunal谋ml谋 okuma d枚nemimde kabalas谋, ezoterizmi ve yahudilerin inan谋艧谋n谋nn kal谋pla艧m谋艧 s枚ylem - efsaneleriyle ba艧ka bir d眉nyaya ta艧谋d谋.
Orta莽a臒 kokulu Prag sokaklar谋nda ge莽en bu tarihi ve 莽ok katmanl谋 anlat谋y谋, mistisizm atmosferli karanl谋k severler g枚n眉l rahatl谋臒谋yla okusunlar efendim.
厂补测驳谋濒补谤.
November 8, 2021
V茅rbeli misztikus kalandreg茅ny mindennel, ami a m疟faj k枚telez艖 eleme: akad itt szerelem, gyilkoss谩g, 谩rm谩ny, kabbalista titkok, rohang谩l谩s s枚t茅t sik谩torokban, 谩rtatlanok szenved茅se 茅s gonoszok d茅moni kacaja. Ugyanakkor van valami, ami az eg茅szet igaz谩n 铆nyenceknek val贸 csemeg茅v茅 teszi: az elbesz茅l艖, Pernath figur谩ja, aki mintha 茅bren 谩lmodn谩 v茅gig a rohan贸 cselekm茅nyt. A megb铆zhatatlan kr贸nik谩s iskolap茅ld谩ja, nem csak rettent艖 egzalt谩lts谩ga ok谩n, hanem az茅rt is, mert nem eml茅kszik a saj谩t m煤ltj谩ra (ami mondjuk lehet, engem is egzalt谩ltt谩 tenne), annyit mindenesetre sejt, hogy nemr茅giben egy bolondokh谩za vend茅gszeretet茅t 茅lvezte 鈥� ez茅rt is b谩nnak ismer艖sei vele 煤gy, ak谩r a h铆mes toj谩ssal. 艕 bolyong kereszt眉l-kasul a h谩tborzongat贸, g贸tikusan sz眉rre谩lis pr谩gai gett贸n, mik枚zben a zsid贸 mitol贸gia 艖ssz枚rnye a s枚t茅tb艖l fen r谩 fogat. Persze ez az eg茅sz voltak茅ppen egy metafora: a pr谩gai gett贸 az elme labirintus谩nak t眉k枚rk茅pe, Pernath abban vet艖dik ide-oda, a G贸lem pedig, aki egy ajt贸k n茅lk眉li szob谩ban gubbaszt arra v谩rva, hogy kit枚rhessen, alighanem Pernath 艖r眉lete maga. Meyrink p茅ld谩san adagolja a miszticizmust, a pszichologiz谩l谩st 茅s az atmoszf茅r谩t, aminek csod谩san 谩ll az expresszionista m谩z, j贸 ez a k枚nyv, j贸 benne lenni, j贸 j谩rni az az贸ta porr谩 omlott pr谩gai gett贸 sz疟k utc谩it, 茅s k枚zben f眉lelni: mi ez? Csak nem l茅pteket hallunk? Csak nem...
脡s j枚n a G贸lem.
J枚n a G贸lem.
A G贸lem.
(Mit tal谩ltam, mik枚zben k茅peket kerestem az 茅rt茅kel茅sekhez? H谩t ezt.
Hm, h谩t m谩r g贸lem is. K眉l枚n枚s, hogy a korm谩nyzati propaganda ezt m茅g 铆gy nem kapta fel.)
January 23, 2016
A very good and memorable Gothic tale, that is only loosely based on the original 16th-century Golem of Prague narrative, although this one's also set in Prague (at the present time of publication, 1915 or some 33 years earlier). If you're not put off by mysticism鈥揓ewish and otherwise鈥揑 recommend you check it out. It definitely has literary value! I'd put it somewhere in the vicinity of Poe and Kafka, with a little Lovecraft in the mix. It's a quick read, and the ending is, although not entirely unexpected, that of a good short story. I like that, and I will definitely check out more by Gustay Meyrink.
This work is licensed under a .
March 22, 2019
4,5
芦韦伪 蠈谓蔚喂蟻伪 蔚委谓伪喂 渭喂伪 未蔚蠉蟿蔚蟻畏 味蠅萎禄 螡蔚蟻尾伪位
螝伪胃蠋蟼 未喂维尾伪味伪 蟿慰 螕魏慰位蔚渭, 蟽魏蔚蠁蟿蠈渭慰蠀谓 蟿慰谓 螕维位位慰 蟽蠀纬纬蟻伪蠁苇伪 螡蔚蟻尾伪位 魏伪喂 蟽蠀纬魏蔚魏蟻喂渭苇谓伪 蟿慰 尾喂尾位委慰 蟿慰蠀 螒蠀蟻萎位喂伪 . 螝喂 蠈渭蠅蟼 胃蔚蠅蟻畏蟿喂魏维 蟿慰谓 螕魏慰位蔚渭 伪谓萎魏蔚喂 蟽蟿畏谓 魏伪蟿畏纬慰蟻委伪 :尾喂尾位委伪 蟿蟻蠈渭慰蠀 . 螝喂 蠈渭蠅蟼 未蔚谓 蔚委谓伪喂 .
螤蟻喂谓 未蠅 蟿慰 尾喂慰纬蟻伪蠁喂魏蠈 蟿慰蠀 螠蔚喂蟻喂谓纬魏 , 萎渭慰蠀谓 蟽委纬慰蠀蟻畏 蟺蠅蟼 萎蟿伪谓 纬喂伪蟿蟻蠈蟼 魏伪喂 渭维位喂蟽蟿伪 蠄蠀蠂委伪蟿蟻慰蟼 . .
螕喂伪蟿委; 螕喂伪蟿委 蟽蟿慰 尾喂尾位委慰 蔚委谓伪喂 蟽伪谓 谓伪 蠄蠀蠂伪谓维位蠀蟽畏 蟿慰蠀蟼 萎蟻蠅蔚蟼 魏伪喂 蟿畏谓 蟺蠈位畏 . .
螠喂伪 蟺蠈位畏 蟿蠀蠁位蠋谓 蟽蟿畏谓 魏伪魏喂维 魏伪喂 蟽蟿畏谓 未喂伪蠁胃慰蟻维 , 蟽蟿畏谓 蟺蔚委谓伪 魏伪喂 蟽蟿慰 蠄苇渭伪 .
螒蠀蟿萎 蔚委谓伪喂 畏 蠈渭慰蟻蠁畏 伪位位维 蟽魏慰蟿蔚喂谓萎 魏伪喂 蔚蟺喂魏蠀谓未喂谓畏 螤蟻维纬伪 , 畏 纬蔚渭维蟿畏 慰渭慰蟻蠁喂维 魏伪喂 伪蠂蟻蔚喂蠈蟿畏蟿伪 .
螚 螤蟻维纬伪 蔚委谓伪喂 蟿慰 螕魏慰位蔚渭.
违纬 螖蔚谓 胃伪 渭蟺蠅 蟽蟿畏 位慰纬喂魏萎 谓伪 渭喂位萎蟽蠅 纬喂伪 蟿慰 蠈蟿喂 蟿慰 螕魏慰位苇渭 蔚委谓伪喂 蟿慰 蟺蟻蠈蟺位伪蟽渭伪 -慰 渭蠉胃慰蟼 尾伪蟽喂魏维 蟿慰蠀 螕魏慰位苇渭 蔚委谓伪喂 蟿慰 蟺蟻蠈蟺位伪蟽渭伪 -纬喂伪 蠈位伪 蟿伪 尾喂尾位委伪 萎 蟿喂蟼 蟿伪喂谓委蔚蟼 蟺慰蠀 伪蟽蠂慰位慰蠀谓蟿伪喂 渭蔚 伪谓胃蟻蠋蟺慰蠀蟼 蟺慰蠀 纬委谓慰谓蟿伪喂 胃蔚慰委 魏伪喂 未畏渭喂慰蠀蟻纬慰蠉谓 蟺位维蟽渭伪蟿伪 萎 渭畏蠂伪谓苇蟼 (蟻慰渭蟺蠈蟿). 螒蠀蟿维 胃伪 蟿伪 尾蟻蔚委蟿蔚 蟽蟿畏谓 蔚喂蟽伪纬蠅纬萎
芦韦伪 蠈谓蔚喂蟻伪 蔚委谓伪喂 渭喂伪 未蔚蠉蟿蔚蟻畏 味蠅萎禄 螡蔚蟻尾伪位
螝伪胃蠋蟼 未喂维尾伪味伪 蟿慰 螕魏慰位蔚渭, 蟽魏蔚蠁蟿蠈渭慰蠀谓 蟿慰谓 螕维位位慰 蟽蠀纬纬蟻伪蠁苇伪 螡蔚蟻尾伪位 魏伪喂 蟽蠀纬魏蔚魏蟻喂渭苇谓伪 蟿慰 尾喂尾位委慰 蟿慰蠀 螒蠀蟻萎位喂伪 . 螝喂 蠈渭蠅蟼 胃蔚蠅蟻畏蟿喂魏维 蟿慰谓 螕魏慰位蔚渭 伪谓萎魏蔚喂 蟽蟿畏谓 魏伪蟿畏纬慰蟻委伪 :尾喂尾位委伪 蟿蟻蠈渭慰蠀 . 螝喂 蠈渭蠅蟼 未蔚谓 蔚委谓伪喂 .
螤蟻喂谓 未蠅 蟿慰 尾喂慰纬蟻伪蠁喂魏蠈 蟿慰蠀 螠蔚喂蟻喂谓纬魏 , 萎渭慰蠀谓 蟽委纬慰蠀蟻畏 蟺蠅蟼 萎蟿伪谓 纬喂伪蟿蟻蠈蟼 魏伪喂 渭维位喂蟽蟿伪 蠄蠀蠂委伪蟿蟻慰蟼 . .
螕喂伪蟿委; 螕喂伪蟿委 蟽蟿慰 尾喂尾位委慰 蔚委谓伪喂 蟽伪谓 谓伪 蠄蠀蠂伪谓维位蠀蟽畏 蟿慰蠀蟼 萎蟻蠅蔚蟼 魏伪喂 蟿畏谓 蟺蠈位畏 . .
螠喂伪 蟺蠈位畏 蟿蠀蠁位蠋谓 蟽蟿畏谓 魏伪魏喂维 魏伪喂 蟽蟿畏谓 未喂伪蠁胃慰蟻维 , 蟽蟿畏谓 蟺蔚委谓伪 魏伪喂 蟽蟿慰 蠄苇渭伪 .
螒蠀蟿萎 蔚委谓伪喂 畏 蠈渭慰蟻蠁畏 伪位位维 蟽魏慰蟿蔚喂谓萎 魏伪喂 蔚蟺喂魏蠀谓未喂谓畏 螤蟻维纬伪 , 畏 纬蔚渭维蟿畏 慰渭慰蟻蠁喂维 魏伪喂 伪蠂蟻蔚喂蠈蟿畏蟿伪 .
螚 螤蟻维纬伪 蔚委谓伪喂 蟿慰 螕魏慰位蔚渭.
违纬 螖蔚谓 胃伪 渭蟺蠅 蟽蟿畏 位慰纬喂魏萎 谓伪 渭喂位萎蟽蠅 纬喂伪 蟿慰 蠈蟿喂 蟿慰 螕魏慰位苇渭 蔚委谓伪喂 蟿慰 蟺蟻蠈蟺位伪蟽渭伪 -慰 渭蠉胃慰蟼 尾伪蟽喂魏维 蟿慰蠀 螕魏慰位苇渭 蔚委谓伪喂 蟿慰 蟺蟻蠈蟺位伪蟽渭伪 -纬喂伪 蠈位伪 蟿伪 尾喂尾位委伪 萎 蟿喂蟼 蟿伪喂谓委蔚蟼 蟺慰蠀 伪蟽蠂慰位慰蠀谓蟿伪喂 渭蔚 伪谓胃蟻蠋蟺慰蠀蟼 蟺慰蠀 纬委谓慰谓蟿伪喂 胃蔚慰委 魏伪喂 未畏渭喂慰蠀蟻纬慰蠉谓 蟺位维蟽渭伪蟿伪 萎 渭畏蠂伪谓苇蟼 (蟻慰渭蟺蠈蟿). 螒蠀蟿维 胃伪 蟿伪 尾蟻蔚委蟿蔚 蟽蟿畏谓 蔚喂蟽伪纬蠅纬萎
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